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+{"id": "pos_sentiment_train_pos_0000", "text": "Joseph Brady and Clarence Doolittle are two sailors, who have a four-day shore leave in Hollywood.Joe knows everything about girls and can't wait to see Lola, while Clarence is shyer and needs some advice from his buddy on how to meet girls.They then run into a little boy, Donald Martin, who has ran away in order to join the navy.They take him home and meet his beautiful aunt Susan, who wants to be a singer.Clarence wants Susie to be his girl, but his shyness gets in the way.But he doesn't feel shy with a waitress, who comes from Brooklyn, like he does.Soon Joe notices he's in love with Susie.The boys are in a fix when they lie to Susie on meeting with a big time music producer they don't even know.As they are in a fix with their feelings.George Sidney's Anchors Aweigh (1945) is a great musical comedy.Gene Kelly is top-notch, once again, in his singing and dancing routines.Frank Sinatra is terrific as the shy guy from Brooklyn.Shy isn't the first thing that comes to mind when you think of Frank Sinatra, but he plays his part well.Kathryn Grayson is fantastic as Susan Abbott.We sadly lost this gifted actress and operatic soprano singer last month at the age of 88.The 9-year old Dean Stockwell does amazing job as the little fellow wanting to become a sailor.Jose Iturbi does great job performing himself.It's magic what he does with the piano.Edgar Kennedy plays Chief of police station.Sara Berner is the voice of Jerry Mouse.There's a lot of great stuff in this movie and some fantastic singing and dancing numbers.Just look at Kelly and Sinatra performing \"We Hate to Leave\".It's so energetic.\"If You Knew Susie (Like I Know Susie)\" is quite funny.It's a nice moment when Frank sings Brahms' Lullaby to little Dean Stockwell.It's lovely to listen to Grayson singing the tango \"Jealousy\" .The most memorable sequence is the one that takes into the animated fantasy world, and there Gene sings and dances with Jerry Mouse.Also Tom Cat is seen there as the butler.They originally asked Mickey Mouse but he refused.The movie was nominated for five Oscars but Georgie Stoll got one for Original Music Score.Anchors Aweigh is some high class entertainment.", "label": 1, "domain": "movie_review", "token_count": 487, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0001", "text": "This is one of Disney's top five animated features, in my opinion. Cinderella was a perfect return to the full-length feature animation film (as opposed to the compilation films of the 40's), and expensive depth via the multi-plane camera returns to the film in no other way. Although Disney adapts the story somewhat liberally, you gather the idea of the era via the dress and set stylizations---a clear time period the story takes place. Cinderella is more mature than Snow White, and a multi-dimensional character. Actually, all of the characters are somewhat well-developed, except for the Prince--left the most flat--we know he has a sense of humor, and a great smile, but that's about all. Like Snow White, Disney has some permanent impact on the story in popular culture---in most versions of Cinderella, the stepsisters are attractive, just not as pretty as Cinderella, and their character takes away from their otherwise nice appearance. Favorite Disney additions: the mice! Also, appreciated the continuity--Cinderella always loses her shoe throughout the film. The addition of the homemade gown as well as the following assault from the stepsisters was always horrific as a child--I remember View Master showing this with a black background and a large red light on it! The broken slipper shows the unwillingness of evil Lady Tremaine to give up her hold over Cinderella and admit defeat---Audley would go on to characterize the most wicked of all Disney villains, satanic witch Maleficent, in Sleeping Beauty.", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0002", "text": "The Last of the Blond Bombshells is an entertaining bit of fluff. Judy Dench plays Elizabeth, a newly widowed woman at loose ends. She has spent most of her life being the dutiful wife and mother but has never been truly happy. Shortly after her husband's funeral, Elizabeth is having her regular lunch date with her stick-in-the-mud children when she spots a street performer. This sparks memories of when she was a member of an all girl swing band in London during World War II. We soon learn that the band was not exactly all girl as the drummer was a man dressing as a woman ala Some Like It Hot. Elizabeth pulls out her sax (which she has been secretly practicing throughout her marriage) and joins forces with the guitar-playing street musician. Elizabeth is far more talented than the guitarist, and the money begins to flow in. She doesn't take any money as she is wealthy and doesn't need it. Her playing is strictly for artistic fulfillment. Elizabeth is seen one day by Patrick (Ian Holm) who was the drummer-in-drag of the band. It seems that Patrick was - and still is - quite the ladies' man, and Elizabeth - being only fifteen at the time - was the only band member who did not experience Patrick's \"talents\" other than drumming. Elizabeth is inspired by her granddaughter to get the old group together once again to play for the granddaughter's school dance. Thus begins a delightful trip down memory lane combined with aspects of a humorous road trip movie - all topped off with some really good swing and blues. I guess I'm at the age in which I really enjoy older actresses doing their stuff, and this film is a treasure trove as it not only stars Judi Dench, but she is supported by none less than Olympia Dukakis, Leslie Caron, and a host of seasoned British character actresses. This is all topped off by the extraordinary voice of Cleo Laine. Yes, it is fluff, but totally delightful and exceedingly entertaining fluff.", "label": 1, "domain": "movie_review", "token_count": 412, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0003", "text": "Kirk and crew land on a lonely planet where the sun is about to explode. They intend to evacuate the inhabitants but find the place deserted except for a Mr. Atoz who operates some sort of high-tech library. Despite trying to get a straight answer from him about everyone's whereabouts, Atoz is indifferent to their questions and insist they must quickly 'make a selection while there is still time'. They have no idea what he's talking about but wander about looking at the hand mirror-like disks on the viewers and they see images of the planet's past. Then, while a disk is in the viewer, Kirk runs through the doorway and is magically transported back in time to what on Earth would look like the time of Louis XIV (the 1660s). When McCoy and Spock follow, a different disk is in the viewer and they are sent to an ice age hell. All too late they realize that the library is a time travel machine and repository. While Kirk's visit is pretty short and not all that exciting, Spock and McCoy's is much more eventful, as Spock falls head over heels for Mariette Hartley--who was sent to this awful place as a punishment. The scenes with Spock are exceptionally interesting and very atypical of the normally logical guy. Spock's departure from the norm, the wildly inventive script and very diverse locales make this an exceptional episode--one well worth seeing. FYI--Ian Wolfe, the excellent character actor, played Mr. Atoz. I am a huge fan of older films and have seen him as a supporting and bit player in countless films in the 30s and 40s and he looked almost exactly like he did in this episode from 1969. Interestingly enough, despite looking ancient, he lived on another 23 years--dying at over 95 years of age!!", "label": 1, "domain": "movie_review", "token_count": 377, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0004", "text": "Updated from a previous comment. The great and underrated Marion Davies shows her comedic stuff in this late (1928) silent comedy that also showcases the wonderful William Haines. Davies plays a hick from Georgia who crashes Hollywood with help from Haines, a bit player in crude comedies. They appear together in cheap comedies until Marion is \"discovered\" and becomes a big dramatic star. A great lampoon on Hollywood and its pretensions. Davies & Haines are a wonderful team, and the guest shots from the likes of Charlie Chaplin, Douglas Fairbanks, William S. Hart, John Gilbert, Elinor Glyn, Norma Talmadge, Mae Murray, Rod LaRocque, Leatrice Joy, Dorothy Sebastian, Estelle Taylor, Louella Parsons, Renee Adoree, Aileen Pringle, and Marion Davies (you have to see it) are a hoot. A must for any serious film buff or for anyone interested in the still-maligned Marion Davies! Dell Henderson plays the father. Polly Moran is a maid. Paul Ralli is the slimy leading man. SHOW PEOPLE was said to have used the career of Gloria Swanson as its model (I think Mae Murray is closer). Davies and Swanson were friends. But this film's story does parallel the rise of Swanson from one-reel Mack Sennett comedies with Charlie Chaplin to STAR in Cecil B. DeMille films of the late teens and early 20s. Davies and Haines were huge MGM stars and friends. Odd that MGM never teamed them up in a talkie. They're great together! A sweet romance and delightful spoof of early Hollywood. Greta Garbo and Bebe Daniels are mentioned but do not appear.", "label": 1, "domain": "movie_review", "token_count": 356, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0005", "text": "To \"Bend It Like Beckham\" may not mean much to us Americans who know very little about the other football (soccer), but to English sports fans, it is equivalent to \"Hit it Like Bonds\" or \"Dunk it Like Jordan.\" Any young soccer player dreams of bending a soccer ball around one player and into the net for a goal, much like star player David Beckham does, much like the young Indian girl, Jess (Parminder Nagra), does in the film Bend It Like Beckham. Jess loves to play pick up soccer games, the kind forbidden by her traditionalist mother. However, while playing one day, a passing friend named Jules (Keira Knightley) sees her play and invites her to try out for a traveling, all girls soccer team. After satisfying the coach Joe (Jonathan Rhys-Meyers), she makes the team, something she knows her mother would not approve of. The movie is not about disobeying parents, but rather a girl doing what she wants to do, even if that goes against culture, not just the parents. There is humor thrown throughout the movie, especially when Jules' mother thinks she's a lesbian. The movie does resort to a bit of a cliché moment, as the big soccer game is the same day as Jess' sister's wedding, but it does not come off a cheesy, but rather fun and light. The soccer action looks good, so sports fans will enjoy it, and a story about girls growing up in a boy's world, the world of soccer will inspire some in the audience. Bend It Like Beckham is not just about soccer, but rather a girl trying to find herself and please her parents at the same time, something that proves to be rather difficult.", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0006", "text": "\"Zu:The warriors from magic mountain\" was and is an impressive classic! You never would have guessed it was made in 1983. Tsui Hark's use of special effects was very creative and inventive. (He continued doing this in the Chinese Ghost Story trilogy and later productions.) Even now it can measure up to other movies in this genre. \"Legend of Zu\" is connected to \"Zu\"warriors from magic mountain\"! It is not necessary to have seen this movie to understand the plot of this one. The plot is a bit hard to follow. But to be honest it doesn't matter. It is all about the action and adventure! I always was wondering what Tsui Hark would do if he got his hands on CGI. Now we know,he made this movie. Maybe it sometimes is too much but the overall result is so beautiful that I am not going to be critical about that. There is so much happening on the screen,you simply won't believe! I think it is a big shame that this movie wasn't shown in theaters here in Holland. Because this movie is screaming for screen time in cinemas! This movie easily can beat big budget Hollywood productions like \"Superman Returns\" or Xmen 3. The only thing I do have to mention is the lack of humor! In most of Tsui Harks's movies he combines drama,fantasy,martial arts and humor. Somehow it is missing in this movie. Again I am not going to be picky about these small matters. \"Legend of Zu\" delivers on the action front with the most beautiful special effects you will see. A true classic!", "label": 1, "domain": "movie_review", "token_count": 333, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0007", "text": "This early Anime movie was a rather good film that I caught once on the Science Fiction channel when Anime was actually popular here in America and not the ratings disaster that adult swim claims it is on the cartoon network. I quite frankly think it has less to do with it being less popular and more with the fact people would rather now buy dvds are watch the episodes uncut on the internet. This film though probably did not have all that many cuts and the voice work was okay for a dubbed movie, though I would rather watch the original Japanese version. Americans tend to use some rather annoying voices for children in anything dubbed. This film features a young boy who boards a train called the Galaxy Express in the hopes that he can make it to a planet that has the technology to turn him into a robot. He wishes to become a robot to avenge his mother, who was brutally murdered at the hands of a robot who hunts humans for fun. During the course of his adventures he becomes friends with the various workers aboard the train as well as a woman that resembles his deceased mother, a beautiful woman named Matel, who as with most woman in Anime movies has a secret that could either be really good for our young hero, or really bad. He goes from planet to planet too as the train makes various stops and he runs into a space pirate named Captain Harlock who apparently starred in his own animated cartoon series, so basically the Galaxy Express takes place in that universe. All in all a very good ride with a rather strange and unexpected ending. There would be a sequel to this one, but it was not quite as good as this one, however the ending was a bit more final than it was here.", "label": 1, "domain": "movie_review", "token_count": 341, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0008", "text": "This picks up about a year after the events in \"Basic Instinct\". Catherine Tramell (Sharon Stone) is now in London. While having sex with a soccer player while speeding about in a car going at 110 miles/hour (don't ask) she goes off the road and ends up in the Thames. She survives--he doesn't. The police hire psychiatrist Michael Glass (David Morrissey) to see if she's mentally competent to stand trial. Naturally she starts playing with his mind instead and plenty of murders and sex follow. This movie was doomed before it even opened. It took forever to get a cast and director, script problems were constant and the cast was not happy (Morrissey complained about the movie often). Still it's not too bad. It's a lot like the first--there's a lush music score, beautiful locations, plenty of sex and nudity (this had to be edited for an R), a nicely convoluted plot and good acting--but there's no impact. It feels like a retread of the first. People are being killed here with a choker leash (I believe)...just like people were being killed by an ice pick in the first. In one cute moment Stone picks up an ice pick and looks at it longingly. She's also playing mind games with a man and might be getting him implicated in murders. The similarities are too apparent. This is also VERY R rated--there's plenty of explicit sex talk, male nudity (Morrissey looks a lot better nude than Michael Douglas), female nudity (Stone still looks great) and some bloody murders. The acting is good across the board. Stone is just fantastic here; Morrissey looks miserable but is OK; Charlotte Rampling and David Thewlis are good in supporting roles. So--this isn't at all bad but feels like a remake of the first. Still I recommend it. People just attacked this because Stone is not well liked and they thought it was stupid to do a sequel to \"Basic...\" 14 years after it was made.", "label": 1, "domain": "movie_review", "token_count": 418, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0009", "text": "This film has to be viewed in the right frame of mind. First, the central father-son relationship makes it pretty clear that the film was intended as a prequel to his Wong Fei Hung film \"Drunken Master\" (ideas from this film recur in \"Drunken Master II), and not \"Young Master\"; that Chan backed away from this plan and renamed the characters indicates that he himself was not convinced the material was coming together properly; and, indeed, the film conveys a sense of being incomplete; for instance, the romantic relationship around which half the plot turns is left utterly hanging at the end of the film. \"Young Master\", from the same period, also feels underdone, but at least all its central threads are tied together at the end. This film feels as though Chan wrestled with the plot and characters trying to find his central theme, only to abandon the effort, possibly due to time and budget. Or perhaps the film is simply over-ambitious. This is an important turning point film in Chan's career, because he commits himself to development of the central character above all other concerns - which is why there's such a lack of kung fu throughout the film. Chan wants to make an historical romantic comedy that just happens to have kung fu in it. But both the historical element and the romantic element come across as little more than plot-twists. That leaves us with the comedy. Since Chan's concern is character-development, the comedy is largely character driven - as in the conflict between Chan's character and his best friend, an argument over a girl. But there's plenty of slapstick as well. Frankly, I find the comedy amusing enough to forgive the incompleteness of the plot. This film represents an effort on Chan's part to find a viable formula that he can use and develop over time. It doesn't quite work, and Chan would only find that formula after abandoning the historical elements of his earlier films, with the making of the contemporary action comedy \"Police Story\". But going back to view this film is still very informative as to how Chan worked his way through the historical genre, and perhaps why he abandoned it.", "label": 1, "domain": "movie_review", "token_count": 440, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0010", "text": "At the time I recall being quite startled and amused by this movie. I referred to it as the most important movie I'd seen in ten years, and found myself bumping into people who said similar things. Bernhard has an unusually perceptive behavioral notebook. And she has shaped the bitter adolescent personality that we all had, into a corrosive, adult world-view. The two together provide a startling mix which may be too edgy for some viewers. (Hi Skip. I wish you weren't my brother so I could **** you!) Bernhards search for herself after returning to LA from New York, results in the immersive trying-on of various personas (all of which fit poorly) for our amusement, but enough of them involve acting out to appeal to a \"black imperative\" values system that the real barometer of her resituation is whether black culture accepts her. (It's been a while. Nina Simone comes to mind. And she has an impressive, solidly-built black lover in the movie) A pretty black girl attends the shows, and seems to be authorizing Sandra's faux-blackness, but ultimately rejects her. Just as Catholics deem themselves lucky to suffer for Christ, here Sandra depicts herself suffering at the hands of a black culture in which she craves a place; as if she cherishes her worthiness and her rejection. It's the only value system implicated in the films world, outside of Bernhards arty confusion. For a nation whose chief issues are racism and money, it's refreshing to see one of the 2 topics dealt with in an atypical way.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0011", "text": "This movie stars Jay Leno as a Detroit cop, Tony Costas and Pat Morita as a Tokyo cop sent to Detroit to retrieve a stolen prototype of a car motor. A Japanese man traveled to Detroit hoping to sell it to a up and coming car company ran by a man named Derrick Jarryd. Unfortunately for him the men who were supposed to negotiate the deal killed him and took the prototype. An angry Derek Jarryd tries to distance himself from Phillip Madras who led the men. But Madras(played by Chris Sarandon) has none of it and threatens Jarryd forcing him to continue their partnership. Meanwhile in the same junk yard where the Japanese man had been killed, a friend of Tony Costas was also killed by the same men. Tony's friend had been watching the junk yard. Tony sets out to find the killer against his superior's order. Tony is on robbery while obviously homicide should investigate the case. While Tony is investigating the crime he runs into the Japanese cop and mistakingly he arrests him. Eventually they end up working together on the case. They make an odd pair and there are some genuinely amusing parts as well as some ridiculous scenes such as Pat Morita jumping and kicking right through a the windshield of a moving car and kicking Madras in the head. But it ends up being an enjoyable buddy cop movie, at least in my opinion. Jay Leno is no actor, but he is likable in the role and Pat Morita is good as well. Still, they make for one of the more unlikely buddy cop duos in an action film. If you liked buddy cop films, cheesy 80's movies or you want to see Jay Leno as an actor then I recommend this movie.", "label": 1, "domain": "movie_review", "token_count": 351, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0012", "text": "A 14 year old girl develops her first serious crush on the 17 year old boy that lives near by, while simultaneously trying to overcome her feelings of inadequacy in comparison to her older sister. That is the simple premise of this beautiful, poetic coming of age film from Director Robert Mulligan. Mulligan is famous for previously directing Summer of '42 in 1971 and To Kill A Mockingbird in 1962, two giants of the coming of age genre. Here he directs newcomers in the principal roles: Reese Witherspoon, in her film debut, as the 14 year old girl; Emily Warfield, as the older sister; Jason London, as Court, the 17 year old boy. Reese Witherspoon is astonishingly good in her film debut, displaying every emotion that a 14 year old girl feels in experiencing young love and hurt, never striking a false note. Warfield and London are both equally good as well. The film accurately depicts each adolescent's thoughts or feelings in regard to love with heartfelt sensitivity, never crossing over into maudlin excess even once. Kudos to the autobiographical screenplay from Jenny Wingfield; this is one of the very few films about young love that is honest and consistent in tone without being emotionally dishonest or sensationalist. The music is wonderfully simple, accentuating the tone and mood from scene to scene, but never becoming intrusive. The beautiful cinematography is by famed horror director Freddie Francis, who was in his 70's when this was shot. Tess Harper and Sam Waterston play the girls' parents with dead aim accuracy for 1957, caring, strict, and emotionally simple. Gail Strickland is good also as the boy's mother. There are feelings to sort out, lessons to learn, and truths to face in this sweet-natured film that packs an emotional wallop. To date, this is Robert Mulligan's last film. This is one of the very best films of 1991. **** of 4 stars.", "label": 1, "domain": "movie_review", "token_count": 409, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0013", "text": "What I expected: A rather lame overly-stereotypical portrayal of a sports-mad guy and an equally lame stereotypical portrayal of the gal who likes him yet suffers while being second banana to his overly zealous support for his favorite sports team. What I got: An even-handed story where both guy and gal end up admitting -- to themselves and each other -- that they each have passions in their lives yet each can forgive the other to save the love they share. Sounds sappy but with the nonstop humor and terrific performances this story works! Barrymore is classic Barrymore: that perfect blend of sweet, strong, and adorable. We expect that from her and she delivered. But Fallon is the nice surprise in this film. He brings to the role the perfect blend of sports nut combined with the appreciation for the normal things in life, like caring about kids and his girlfriend. Fallon delivers his lines with subtle perfection. He can be caring (\"You just ran across the field for me!\") and in the same breath be obliviously blinded by his love for the Red Sox (\"How did the grass feel? Kinda spongy?\") at the same time. Fallon's portrayal \"made\" the movie. Hopefully, this movie marks the beginning of a better film career for Fallon, something beyond the over-the-top sophomoric humor typical of SNL alums (i.e. Will Ferrell). In short, a movie that could have fallen victim to stereotypical male vs. female characters rose above that limitation and provided nonstop spot-on humorous lines, most delivered with brilliant subtlety by Fallon. Hey, I saw this with my wife -- not a baseball fan -- and she loved it as much as I did. It's neither a \"Guy Flick\" nor a \"Chick Flick\". It's a terrific make-you-laugh flick. Go see it!", "label": 1, "domain": "movie_review", "token_count": 377, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0014", "text": "If you want to watch a movie and feel good about watching it, then Tigerland is the film for you. I love this movie from top to bottom. This movie's picture-perfect scenes look so real; it's almost like a documentary of something that happened in real life but with drama. Boy, I tell you... REAL drama they actually real \"fought\" in one of the scenes (get the DVD listen to the commentary its not obvious). I see this film as a bunch of desperate young men trying to escape an ill-fated destiny, after watching Saving Private Ryan I have an a appreciation of what an \"ill-fated destiny\" is and know exactly how the men in the film feel. I see this movie as a crossbreed between \"Stand By Me\" and \"Saving Private Ryan.\" What do men do when they are with a situation that's \"hard pressed\" in real life? Some men go crazy, some men cry, some men through fists, others do drugs, some randomly sleep with hookers ruthlessly trying to eradicate the meaning of love from their life, some try drink the pain away, some jump off buildings or bridges, some feel guilty and others feel so much agony it makes them so sick they collapse - physically. This movie has all those desperate emotions rolled into one ball. But don't get me wrong its not depressing movie, its realistic, its a very very humorous movie, the cocky and funny Bozz (Collin's Character) lights it all up, and on top of that there are about 5 female actresses in the movie; I'll let you figure out what their in there for! With dialogue, war/action sequences, picture perfect scenes along with appropriate music; this movie has it all, like I said: from top to bottom. I don't why Tigerland is heavily under-credited. The best thing about owning the movie is that on the cover it says in big bold writing \"The best film of the year,\" and it absolutely falls nothing short of that. Keep the rare gems coming Hollywood, 10/10.", "label": 1, "domain": "movie_review", "token_count": 421, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0015", "text": "Cinderella takes me back, when I was a little girl I loved the princesses of Disney. Cinderella was one of my favorites because I always was so enchanted by the story. Any child or family members will enjoy this wonderful and magical story. We have Cinderella who is a beautiful girl enslaved by her wicked step mother and ugly step sisters. She cleans and cooks for them without ever receiving thanks. The only friends she has in the world are the mice in the attic that are so charming and musical. When the ladies receive an invitation to the King's ball to find a lady for his son, the prince, a.k.a. Prince Charming, they all get excited, Cinderella overhears the exciting news and asks if she could come too. Her step mother makes a false promise and says if she does her chores and such, she can come too. Of course, she doesn't keep her promise and destroys a beautiful dress she and the mice made for the ball. Leaving poor Cinderella behind, a wonderful thing happens, Cinderella's fairy god mother appears and creates a beautiful dress and carriage out of things from around the house and even makes the mice and horses into elegant horses and a driver for the carriage. When the prince sees Cinderella at the ball, he has fallen hard for her. All the ladies are jealous, including her step mother and sisters. But Cinderella must return home at midnight when the spell is broken, all she leaves behind is her glass slipper. The next day the prince is on a hunt to find this girl who fits the slipper and is making a stop at Cinderella's house where her step mother has found out about her night and locks her in her room. Can she escape in time to tell the prince that it was her at the ball? You'll just have to find out. Trust me, this is a true Disney classic with beautiful animation and classic music that is so charming. You can't help but fall in love with this masterpiece. A dream is a wish your heart makes, this movie captures everything a girl could want. 9/10", "label": 1, "domain": "movie_review", "token_count": 425, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0016", "text": "This highly underrated film is (to me) what good writing in a movie should be all about. Kasdan takes the search for meaning in our lives and lays it out for all to see and wonder at. The movie is about the divides people create to insulate themselves from the violence and hatred and bigotry of everyday life. Along the way we are asked question after question about life. Davis (Steve Martin with a great beard) asks himself 'Is my making a violent movie (and by extension our enjoyment of it) causing the violence in society?' Claire asks \"What kind of world throws away something as precious as a human life?' Mack is not immune as he asks 'Is it possible to pass beyond the bounds of race and (an even harder step) finance? These are of course not quoted from the film, but generalities. Others ask their questions too, and to be honest it raises more than it answers. But that is the nature of life. We strive all our lives to find answers to questions we will never totally answer, and in certain cases have to make answers fit to our own needs and desires. As humans we thrive on questions we cannot answer. Some answers are real. Claire and Mack come to realize that even though they could take the easy road and let the state take the baby, their finding it placed the responsibility for her life in their hands. Some answers are not. Davis `Sees the Light' and decides not to make violent films, but the next day turns around and dismisses his epiphany as subordinate to his art. We all seek answers. This movie does not answer them for; it simply reminds you to keep looking for the answers.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0017", "text": "In the year 1985 (my birth year) Steven Spielberg directed an emotionally strong and unforgettable story of a young African-American girl Celie (Debut role for Whoopi Goldberg) whose life is followed through rough times. The story begins from the year 1909 when Celie is only 14 years old. She has given birth two children for her father. Celie has a younger sister Nettie with whom she is inseparable. A widower lays his eyes on Nettie but their father gives Celie to him. It is the beginning of an era of horrible abuse and constant controlling. Women are inferior of men and especially being an African-American woman their rights are less than a zero. Celie's story is a true survival story. \"The Color Purple\" is a master-piece and underestimated film of Spielberg. He should make more drama which \"The Color Purple\" and \"Schindler's List\" are good notion. The cast is amazing. Whoopi Goldberg is known better as a ravingly funny comedienne but the introducing role as Celie is a remarkable word that she really can pull of heavy drama. Danny Glover was surprisingly nasty \"Mister\". I have never seen him in a such an evil role. The talk-show icon Oprah Winfrey is brilliant as a strong-willed Sofia. Warning! Prepare to have a number of tissues with you when watching this film. You can really connect to the story of the strong sisterhood. Especially if you have as close relationship with your siblings like I have with my sister. Big applauds to Mr. Spielberg!", "label": 1, "domain": "movie_review", "token_count": 321, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0018", "text": "This is the one in which the diminutive Ruth Gordon plays an Agatha-Christie type of murder mystery author who locks her nephew by marriage into a safe. Gordon believes that he murdered her niece and the young fellow dies of suffocation, while Gordon is traveling back and forth to New York. He manages, however, to leave behind some clues, scratches on a couple of black safe deposit boxes and an improvised and well-hidden note. Columbo enters the case, suspects her at once, and solves the mystery by simply using his supernatural mystical intuitive powers. Oh, and Mariette Hartley is on hand as Gordon's secretary and would-be blackmailer. Hartley is, I believe, the grand daughter of the psychologist B. F. Skinner. I'm not sure her ancestry had anything to do with her attractive belly button, which is on display during a belly dance sequence, but I've always admired Skinner anyway. The murder is well handled. It's a good plot, and none of the performers or crew fluff anything. But the outstanding figure here is Ruth Gordon, only a skosh over five feet tall. She was over 80 years old and looked it. There are moments when she almost teeters, but she consistently exudes charm. Her acting is idiosyncratic. You can never be sure when she's being serious or when she's putting Columbo and the audience on. She's given some good lines too. What humor there is comes from Gordon. Columbo doesn't have any of his frequent comic moments. All in all, a nice job by everyone concerned.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0019", "text": "I can understand why some people like this movie, and why some people don't. For me, though, I really like it, even if I noticed some good bits, and not so impressive bits. The animation was actually excellent, like Charlie's dream. The characters were a mixed bag, the best being Anne-Marie, voiced by the late Judith Barsi.(I was physically ill when I read what happened to her) Also, Carface is a very convincing villain,especially voiced by the wonderful Vic Tayback(I particularly loved \"Morons I'm surrounded by Morons\") and along with Rasputin and Warren T.Rat is probably the most memorable of all the Don Bluth villains. Charlie and Itchy only just lacked the same sparkle, but I loved King Gator and his song. Some of the film is very haunting, like Annabelle's \"You can never come come back\", which kind of scares me still. Unfortunately, there were some bits I didn't like so much. The story had a tendency to become clumsy and unfocused, but Disney's Black Cauldron suffered from the same problem. Also there were some dark scenes, that young children would find upsetting, but the ending is very poignant. However the biggest flaw was the rather bland songs and the way they were sung. None of them in particular stick out, with exception of \"Let's Make Music Together\" and \"Love Survives\", and Burt Reynolds can't sing and Dom DeLuise has done much better singing. All in all, a watchable movie, that could have been more, but is definitely memorable, and I would definitely watch it again. 7/10. Bethany Cox", "label": 1, "domain": "movie_review", "token_count": 342, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0020", "text": "I was about 12 years old when I saw this classic \"Casper the Friendly Ghost\" cartoon. Figured it was an early one since Casper didn't look *right*, the same way Porky Pig doesn't look *right* in the old 1930's cartoons. But I digress... Anyway, this episode in the friendly phantom's afterlife concerns him befriending a young fox todd whom he names Ferdie. I remember being happy to see Casper have a friend, as those who have watched the cartoons are wont to know that most people run away from him, screaming \"A Ghost!\" Casper and Ferdie have some fun together until someone else shows up... I hate to leave you with a semi-spoiler, but the cartoon is only seven minutes long, so you can't really be too ambiguous. Besides, anyone who reads the IMDb synopsis of the cartoon can deduce what happens next... The finale is a bit heartbreaking. In fact, it's probably the saddest I've ever felt watching a cartoon. But that only means that it moved me, which probably explains why I decided to write a comment on this particular cartoon and not very many others. Or heck, the fact that I actually REMEMBER this cartoon at all is due to its emotional effect on me -- I haven't seen it since. But the cartoon does end on an upbeat note, and I was pleased to see Casper and Ferdie happy again. I'd give this cartoon 8 out of 10 stars. Second only to the Warner Bros. cartoon \"Peace on Earth,\" this is the most I've ever been moved by an animated short.", "label": 1, "domain": "movie_review", "token_count": 335, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0021", "text": "Taiwanese director Ang Lee, whose previous films include 'Sense and Sensibility' and 'The Ice Storm', turned to the American Civil War for his latest feature. Based on a novel by Daniel Woodrell, it follows the exploits of a group of Southern guerrillas, known as bushwhackers, as they fight their Northern equivalents, the jayhawkers in the backwater of Missouri. As one might expect, there is plenty of visceral action, but the focus is on the tension that the war put on the young men who fought it - many of whom were fighting against their former neighbours and even family. Jake Roedel (Tobey Maguire) is such a man, or rather, boy, as he is only seventeen when the war reaches Missouri. He is the son of a German immigrant, but instead of following his countrymen and becoming a Unionist, he joins his lifelong friend Jack Bull Chiles (Skeet Ulrich) and rides with the bushwhackers. Despite a lack of acceptance because of his ancestry and an unwillingness to participate in the murder of unarmed Union men, he remains loyal to the cause. So does his friend Daniel Holt (Jeffrey Wright), a black slave freed by another bushwhacker and so fighting for the South. Lee handles the subject with aplomb, never rushing the deep introspection that the plot demands in favour of action and this lends the film a sense of the reality of war - long periods of boredom and waiting interposed with occasional flashes of intensely terrifying fighting. The action is unglamorised and admirably candid, recognising that both sides committed a great number of atrocities. The performances are superb, with Maguire and Wright both courageous and dignified. Up-and-coming Irish actor Jonathan Rhys Meyers is particularly chilling as a cold-blooded killer, while Skeet Ulrich is enjoyably suave and arrogant. Lee never flinches from the reality of war, but his actors do an admirable job of showing the good that comes from it - the growth of friendship, the demonstration of courage and, on a wider scale, the emancipation of oppressed peoples. Ride With the Devil is a beautiful and deeply compassionate film that regularly shocks but always moves the audience.", "label": 1, "domain": "movie_review", "token_count": 455, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0022", "text": "First off, I'd like to make a correction on another review of this film which said that the last musical to win the Best Picture Academy Award was 'Gigi' in 1958. That is misinformation as 'West Side Story' won in 1962, 'My Fair Lady' won in 1965 and 'Sound of Music' won the year after that. That said, this film is absolutely fantastic! The story from the novel has been somewhat altered, but that's more because of the limitations that they had on a stage that they just didn't change back for a filmed version. However, I don't mind. In fact, I rather think the whole production flows better than the novel does. I like Nancy bringing Oliver to the bridge with her and being killed there instead of later in the apartment. The subtle things in this film are the ones that make me laugh. I love the moment Mr. Bumble and Mrs. Bumble start coming out at the beginning from the governors office. The underscore for that moment is brilliant. My three favorite actors for this film were Jack Wild, who plays the best Dodger in any film version of the story, Ron Moody, a playful and humorous Fagin (this character is worked out much better than he is in the book), and Shani Wallis, who is the strongest, most distressed version of Nancy. The only reason I'm giving this film a 9 instead of a 10 is because of the two big production numbers which are 'Concider Yourself' and 'Who Will Buy.' I always hate when the choreography in musicals in meant to look like people doing everyday chores and jobs. It looks awful and cheesy, especially when they're dancing at the London Meat Co. They should've just done regular choreography for these scenes. However, this film is a rare treasure that will stay with us, hopefully, forever.", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0023", "text": "While in a plane, flicking through the large choice of movies, I came across Live! almost accidentally. oh boy! what a choice. I remembered vaguely seeing the trailer over a year ago and completely forgot about it expecting no more than another cheesy nonsense movie about a stupid reality show. Now I can easily say this has been a hell of a ride. I don't remember last time I have been so excited, terrified. Not sure if it was the high altitude playing with my senses, but the suspense grow gradually through the movie until reaching a climax where you can't turn away from the screen, literally sitting on the edge of your seat and biting the remaining nails you've got. You will first go through a personal moral assessment of where you stand about the righteousness of the show. You will drift from thinking \"how come the human being can be so vicious\" to \"why not after all?\".Ask yourself would you do it. Then learn about the contestants, their motives and start guessing. You will then watch contestant pulling the trigger one by one and get excited even though you know the first candidate is safe. Good acting, good directing, with a movie experience that reminds you those old movies where you knew what would happen in the next scene but still were craving for more. *Spoilers* couple of things i would have changed: - the casting of the contestants. i have really been moved by the farmer and we should have had a bit more like him. The idea of a rich writer who wants to be famous is a bit stupid, it felt like you didn't care about some of the contestants. Although this might have been done on purpose, i think the audience should have been able to associate with the majority of the contestants. - game rules, a big glitch : what happens if the 5th contestants doesn't die when he pulls the trigger. do you seriously think the last standing guy will pull the trigger and execute himself!!! they should have given a chance to all contestants to live, ie: if 5th is a blank too, then no one dies. interestingly I haven't been bothered too much by this bad points cause i really had a good time. just wish i had some popcorn with me!", "label": 1, "domain": "movie_review", "token_count": 450, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0024", "text": "Damon Runyon's world of Times Square, in New York, prior to its Disneyfication, is the basis for this musical. Joseph L. Mankiewicz, a man who knew about movies, directed this nostalgic tribute to the \"crossroads of the world\" that show us that underside of New York of the past. Frank Loesser's music sounds great. We watch a magnificent cast of characters that were typical of the area. People at the edges of society tended to gravitate toward that area because of the lights, the action, the possibilities in that part of town. This underbelly of the city made a living out of the street life that was so intense. Some of the songs from the original production were not included in the film. We don't know whether this makes sense, but this is not unusual for a Hollywood musical to change and alter what worked on the stage. That original cast included the wonderful Vivian Blaine and Stubby Kaye, and we wonder about the decision of not letting Robert Alda, Sam Levene, Isabel Bigley repeat their original roles. These were distinguished actors that could have made an amazing contribution. The film, visually, is amazing. The look follows closely the fashions of the times. As far as the casting of Marlon Brando, otherwise not known for his singing abilities, Frank Sinatra and Jean Simmons, seem to work in the film. Sky Masterson is, after all, a man's man, who would look otherwise sissy if he presented a different 'look'. Frank Sinatra is good as Nathan Detroit. Jean Simmons, as Sarah Brown, does a nice job portraying the woman from the Salvation Army who suddenly finds fulfillment with the same kind of man she is trying to save. Vivian Blaine is a delight. She never ceases to amaze as Miss Adelaide, a woman with a heart of gold who's Nathan Detroit's love interest. Ms. Blaine makes a fantastic impression as the show girl who is wiser than she lets out to be. Stubby Kaye makes a wonderful job out of reprising his Nicely Nicely Johnson. The wonderful production owes a lot to the talented Abe Burrows, who made the adaptation to the screen. The costumes by Irene Sharaff set the right tone.", "label": 1, "domain": "movie_review", "token_count": 465, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0025", "text": "Cannot believe my eyes when read quite a bunch of other comments and reviews. As if it were a mediocre movie of some run-of-the-mill dudes. The movie is great, funny, crazy, over-the-top violent though with minimum gore, and all the way energetic to the core. Loved every single bit of it. Can't remember anything insane like this made for laughs and martial art showing off. And now the most important thing (at least to me): it is computer effects free. When I watch some Hollywood actors duking it out on screen in modern high-resolution and damn high-budgeted action \"fuflo\" (a Russian word that means \"bull*beep*\"), I understand that any *beep* child can do it - you can adjust the wires to the body, add some cute PC effects, and stuff it into the action film. Here it is different. I don't think that there will be even a dozen of physically advanced action stars worldwide, who can repeat the brawl that takes place at the end of the film or the \"Chinese football\" play. And it is just a little Hong Kong cinema made for fun, not pretending to be \"Star Wars\". Having a DVD with English soundtrack is not a problem with this movie. It does not spoil the atmosphere to me. Can't help mentioning a very neat theatrical play. Some of you, suppose, won't like it. As to me - it's amazing. Have a look at the Dragon's friend who is talking in a brave manner to the criminals and all of a sudden gets a fist punch in his left side of the head. His face expression changes into something whimsical and he comes up to Dragon with a baby expression. And take a look at the menacing size of his mouth - it's nearly from one ear to the other long when he makes grimaces. This movie deserves a higher rating and a thousand comments from people all over the world. Very thankful to our Russian industry for the releases of classic Jackie Chan movies. His modern ones are much weaker in my humble opinion and do not deserve much hype. Total 10 out of 10 - a legendary movie in its genre. Thank you for attention.", "label": 1, "domain": "movie_review", "token_count": 444, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0026", "text": "In the Old west there are always the men who live breathe violence and the women who hold their breath. A famous ¨town tamer¨ named Clit Tollinger(Robert Mitchum) comes hired by the citizens to rid the gunslingers ( Leo Genn, Claude Atkins, among others), Baronland's hoodlums. There he meets the blacksmith (Emile Meyer) , his daughter (Karen Sharpe), her boyfriend(John Lupton), the marshal(Henry Hull) and the Saloon owner (Ted De Corsia). Clint as lawman is appointed deputy to bring peace and puts some cartels saying the following : ¨ Warning , wearing of guns or other weapons in town is banned. Check all hardware at the marshal's office ¨. Clint finds his ex-girlfriend, a local madame (Jan Sterling) in charge of the Saloon girls( Angie Dickinson, Barbara Lawrence, among them). But the town council afraid the raw methods carried out by Clint . At the end the kingpin landowner appears and attempts to murder Tollinger with his own hands. This is a tremendously exciting story of a sheriff-for-hire who had only one more killing to go. It begins as a slow-moving Western but follows to surprise us with dark characters and solid plot. The tale is almost grim , a pacifier comes to a town just in time to make sure its citizenry but later the events get worse . The highlights are the burning at Saloon and the climatic showdown at the ending. Phenomenal and great role for Robert Mitchum as avenger angel and bitter gunfighter, he's the whole show. Vivid and lively musical score by Alex North (Spartacus, Cleopatra), Atmospheric cinematography in black and white by Lee Garmes. The motion picture is stunningly realized by Richard Wilson (Al Capone , Three in Attic) who made good Western as ¨Invitation to a gunfighter and ¨Zane Grey¨ episodes. Watchable results for this offbeat Western.", "label": 1, "domain": "movie_review", "token_count": 417, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0027", "text": "There are too many new styles of the sitcom but the one that works best is the old fashioned way with an audience and indoor set. That 70's Show is a great example. When the show came on the air, nobody really heard of Kurtwood Smith and Debra Jo Rupp much less the adolescents played wonderfully by Topher Grace and Ashton Kushton (both of them are leaving the show this year to pursue other interests) I wish Topher would stay around because the show began about his character, Eric, and his close circle of friends. Ashton is already the John Travolta of our time. Remember when John was in love with Diana Hyland from Eight Is Enough, think of Ashton with Demi Moore. The cast of actors were never known to us which is a good thing because a celebrity cast member can spoil it. I miss Mo Gaffney who played Don's girlfriend Joanne. I miss Lisa Robin Kelly as the original Laurie, the replacement could not match her and I am sorry about that. I liked the casting of Tommy Chong as the wasted but beloved father figure to Steven Hyde. I loved watching Tanya Roberts besides Charlie's Angels. I loved Brooke Shields playing Jackie's mom. She really showed her acting talent before heading to Broadway. This show has been a delight with many surprises. I hope this show lasts longer even though 2 of their cast members are leaving but I hope they don't stay too far away too long. I wish the show's creators, Bonnie and Terry Turner, who also created my other favorite show, Third Rock from The Sun, is more successful on Fox than they were on NBC which sabotaged their show. The Turners are not dummies and I hope they create more shows like this in the future.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0028", "text": "The accountant Shohei Sugiyama (Kôji Yakusho) is feeling bored with his routine life, limited to hard work and stay at home with his wife Masako Sugiyama (Hideko Hara) and his teenager's daughter. One night, while traveling home by train, he sees the beautiful face of Mai Kishikawa (Tamiyo Kusakari) in the balcony of a dance school, and a couple of days later, he decides to visit the school and secretly take ballroom dance lessons every Wednesdays night. However, he becomes ashamed to tell his family his secret. Meanwhile, Masako feels the changes in the behavior of her happier husband, and hires a private eye to investigate whether Shohei is having an affair. I have just finished watching \"Shall We Dansu?\" and I really loved it. What a lovely and delightful movie! The story is amazingly good, with drama, comedy and romance. The cast is excellent, and I was particularly impressed with the cold beauty and graciousness of the wife of the director Masayuki Suo and professional ballet dancer Tamiyo Kusakari. On last September 06th, I saw the American remake of \"Shall We Dansu?\" for the first time, and I found it a delightful entertainment. But now I can say that it is another unnecessary remake, and I recommend this original film instead. My vote is ten. Title (Brazil): \"Dança Comigo?\" (\"Dance With Me?\")", "label": 1, "domain": "movie_review", "token_count": 309, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0029", "text": "If the themes of The Girl From Missouri sound familiar it should. That's because Anita Loos who wrote the screenplay here also wrote the classic Gentlemen Prefer Blondes. Unlike Marilyn Monroe in that film, Jean Harlow will accept any kind of jewelry from men of means. And it's men of means that Jean Harlow is after. She leaves the road side hash house run by her mother and stepfather because she's decided that the best way to gain the easy life is to marry it. Her talents as a chorus girl are limited, but she'll be able to trade in on that beauty. Her odyssey starts with her and friend Patsy Kelly getting an invitation to perform at a party thrown by millionaire Lewis Stone. But unbeknownst to Jean, Stone's just having a wild last fling before doing himself because of the moneys he owes not owns. Still she wrangles a few baubles from him that fellow millionaire Lionel Barrymore notices. Lionel's amused by it until Jean sets her sights on his playboy son, Franchot Tone. After that he is not amused and he looks to shake Jean from climbing the family tree. The Girl From Missouri went into production mid adaption of The Code so it went under peculiar censorship. I've a feeling we would have seen a much more risqué film. Still Jean Harlow as a younger and sassier version of Mae West is always appreciated. What a great comic talent that woman had, seeing The Girl From Missouri is a sad reminder of the great loss the world of film sustained with her passing three years later. Ironically enough the casting of Patsy Kelly with Harlow was no doubt influenced by the successful shorts Kelly was making with another famous platinum blonde, Thelma Todd. Harlow and Kelly have the same easy chemistry between that Patsy had with Thelma. Todd would also die a year later in a freak accident/suicide/homicide that no satisfactory explanation has ever really been given. Don't miss The Girl From Missouri, it's bright and sassy, must be from all that sparkling jewelry.", "label": 1, "domain": "movie_review", "token_count": 427, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0030", "text": "Scott Henderson, the engineer that employs Carol Richman, as his assistant, makes a point to call her \"Kansas\", whenever he speaks to her. It shows us that Carol, effectively played by Ella Raines, is supposed to be a babe in the woods, as far as the Manhattan of the 40s was concerned. Only a woman, from out of town, would follow the shady bartender to a solitary elevated subway. Even then, only a naive girl could undertake such an adventure. Robert Siodmak directed this film noir very well. He shows a flair for infusing the story with a lot of raw sex that was surprising for those days. How else could we justify the way the drummer in the orchestra of the musical, where Scott takes the mysterious woman with an unusual hat, makes such an overt pass at a lady on a date? The drummer played with high voltage by Elisha Cook Jr. doesn't hide his desires for any of the ladies who sat in the front row of the hit musical where he plays. It was a real explicit invitation, first to the \"phantom woman\" of the story, Fay Helm; afterward, Cliff the drummer, insinuates himself very openly to Ella Raines who goes to the theater disguised as the mystery dame her boss had taken originally. This is a film that will hook any viewer from the beginning. There are things not explained in it, but it holds the one's interest throughout. The killer is not revealed until the end. Ella Raines with her expressive eyes was an under estimated actress. She holds her own against much more experienced actors. Franchot Tone, a New York stage actor, working in Hollywood, never found in this medium the fame he deserved. He is effective as the accused man's best friend. On the other hand, Alan Curtis, comes across as a man, who when framed, accepts his fate and is saved only by the tenacity of the woman who secretly loved him. Thomas Gomez, as the inspector Burgess, is an asset to the film as a detective who has his doubts the police had caught the man who committed the crime. This movie will not disappoint.", "label": 1, "domain": "movie_review", "token_count": 435, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0031", "text": "THE RUNNING MAN, along with TOTAL RECALL, is my favorite Schwarzenegger movie. No, this isn't 2001, but it's not meant to be. And the acting and script here isn't even up to par with other Arnie movies like PREDATOR or THE TERMINATOR. But I submit that the IDEA behind this movie is one of the coolest ever to hit the big screen. A state-sponsored game show in which criminals convicted of serious crimes compete against \"heroic\" stalkers armed with all kinds of weapons (the runners are equipped with none) in order to satisfy the public's lust for sport and blood. The ultimate prize for a winning runner: freedom. Or so the rules claim. For a movie with such over-the-top gory death scenes and cheesy one-liners, it really does have a lot to say. Someone else has pointed out all the commentary on culture/government presented in this movie, so I won't go into it here. Suffice it to say that if you can look beyond the seemingly silly feel of the movie, you will enjoy it very much (especially if you're a big SF fan with a lot of imagination). Like I said, it's not trying to be a serious art film, but it IS surprisingly layered for a 80s shoot-em-up flick. The premise is borrowed from a Richard Bachman (aka Stephen King) short novel, but diverges fairly strongly from its source material, especially towards the end. (The book ends rather nihilistically; needless to say this movie doesn't.) I enjoyed both, but I like the movie better. My favorite line: \"Guess it's caused from steroids.\"", "label": 1, "domain": "movie_review", "token_count": 340, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0032", "text": "This movie is without a doubt a perfect 10/10.. for all you people out there who are rating this film low grades because it has no \"good plot\" or anything like that, thats ridiculous, saying that a Jackie Chan movie is bad because of its plot is like saying a porn movie is bad because it has no plot! you watch Jackie Chan FOR THE FIGHT SCENES, for the action its not so much concentrated on a good story or anything like that, if you look at how he makes movies and compare it to other American films from that era and even later you will realize that Jackie Chan's movies had over the top fights scenes and not really good plots while American movies had good plots but shitty action scenes compared to what Jackie Chan was doing at the time. Porn is watched for the porn, Jackie Chan is watched for the ACTION, i think you people are rating it bad because there's no plot because you think thats how a smart movie critic would rate a good movie but the way i see it is a good movie is a movie that can keep me entertained. Sure the middle of the movie was boring, VERY BORING, but put it this way the rest which is all action scenes and stunts very much do pay for all of that. This did change the way how American action movies were created, they have even stollen scenes from this movie. If you want a true man, a true entertainer then watch this movie and many more of Jackie Chan's, hes pure in everyway. He literally makes American movies look like a walk in the park, and even in TODAYS movies. American movies rely so much on special effects and safety wires and stunt doubles and so much more. Police Story and many other Jackie Chan films are pieces of work of a true entertainer who just goes all out and is very talented in what he can do. a masterpiece", "label": 1, "domain": "movie_review", "token_count": 381, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0033", "text": "Nothing revolutionary here; just impeccably elegant, restrained cinema. GARDE A VUE is confined almost exclusively to a drab police station, and mostly to one interrogation room, but director Claude Miller (who made the wonderful film THIS SWEET SICKNESS, among others) intercalates spare glimpses of exterior tableaux as minimalist locale scenography. Miller's restraint, especially early on, is breathtaking, and his exquisite handling of the consequently-pivotal interior mise-en-scene makes for captivating viewing. Lino Ventura is superb as usual, succeeding to legitimize a character that, on paper, is cliche: the laconic, hard-nosed, world-weary homicide detective. Ventura lives the role, making it completely believable, even though the script allows us little access to his inner workings; the film ends at the very moment it appears he will be forced to confront his failure for the first time. Michel Serrault is equal to the task as the suspected child-killer who shrewdly spars with the single-minded flic. The exchanges between the two are more-often-than-not pregnant with tension and the aura of a constantly metamorphosing playing field for a battle of wits. Serrault's character is by turns deplorably haughty and cunning, and pitiable; then later.... The \"message\" of GARDE A VUE, if one were to search for one, is a condemnation of police methodology and the kind of pressures that make a cop over-zealous to, if necessary, close cases at the expense of justice. For most of its length though the film shines as nothing more than an exemplar of how to turn a potentially soporific set-bound scenario into a suspenseful drama of the utmost cinematic economy.", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0034", "text": "The next-to-last episode aired of the original Star Trek series is an interesting, sometimes melancholy installment that proves the show was still exploring its characters even at this point in the third season; though flawed, 'All Our Yesterdays' has its moments and overall a moody, compelling feel to it. Kirk, Spock, and McCoy beam down to a planet, assuming they are arriving in the nick of time to save or at least give some warning to whatever populace is there, since the planet's sun is due to explode within hours. But as it turns out, the people there are all too aware of the planet's fate, and using a kind of time travel device, have escaped into the past. Each person has been able to choose the time and place in the past where he or she would like to live at a 'library,' run by an elderly man named Mr. Atoz. Atoz assumes the three men are looking for a past to live in as well, and shows them various periods from which they can choose on viewers. There is some rather forced confusion at the start of the episode, with lines like: McCoy- Where did they go? Atoz- Wherever they wanted to. The misunderstanding could be cleared up rather easily, but for plot purposes, it isn't, and soon Kirk finds himself transported back to a period resembling 18th Century England, while Spock and McCoy are sent to an ice age, 5000 years in the planet's past. From here, the main focus is on Spock and his relationship with a woman exiled to this time by a tyrant as punishment. Spock begins acting increasingly emotional, showing anger toward McCoy and deep affection for Zarabeth, the woman. He eventually realizes that he is reverting back to the primitive emotional state of his ancestors on Vulcan, 5000 years ago. Kirk makes his way back to the library first, and finally convinces Mr. Atoz they don't belong in his planet's history. Spock and McCoy return just before it's too late, leaving Zarabeth behind; the Enterprise beams the three up and speeds away as the sun explodes, destroying the planet. The interaction between Spock and Zarabeth provides this episode's most memorable moments, though Kirk's adventure into the 'English' past is amusing. All in all, a very decent latter-day Star Trek outing.", "label": 1, "domain": "movie_review", "token_count": 486, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0035", "text": "This, despite not being the original - it began life as a play in Central Europe - has weathered the several incarnations that followed (MGM's own remake with period songs In The Good Old Summertime, the Broadway show She Loves Me, even the excellent theatre revival in Paris a couple of years ago) and remains the definitive version and the one they all have to beat. Several previous commenters have identified the contributing factors that make it so successful and memorable not least being the prevailing fashion in 30s and 40s Hollywood for lavishing attention and detail on ensemble playing rather than just two leads as so often happens today - try, for example, removing Ugarte, Ferrari, Renault etc from Casablanca and yes you'd still have Rick and Ilsa and Viktor Lazslo but they'd just be frosting without the rich cake mixture below. Jimmy Stewart and Maggie Sullavan WERE both ideal and irreplaceable leads but how much brighter they shine when their performances are reflected in those of Frank Morgan, Felix Bressart, Joseph Schildkraut and Andy Hardy's Sara Haden and this is BEFORE we factor in that Lubitsch 'touch'. Okay, maybe they WERE a tad more naive, innocent even, in that Jurassic Age but how many genuine film lovers, sated with scatology, screwing and in-your-face sex, turn back to those days of Stories, Style, Slickness and Skill and wallow in great movies like this one. By far the best thing about this technological age is not CSI but DVD that can at one and the same time make these classics available to nostalgics and show the Matrix freaks how the big boys used to do it.", "label": 1, "domain": "movie_review", "token_count": 348, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0036", "text": "Gorgeous Techicolor production telling the unusual tale of the romance between a woman of strong religious faith and a Trappist monk who has left his monastery, breaking his vows. The film opens at a convent in Europe, where a former student prays - a lonely beauty in black named Domini (Marlene Dietrich). She is advised by the Mother Superior to go to the desert and \"find herself\", and lose her grief over her father who has recently died. In the train car on the way into the Sahara she sits opposite a very, very troubled man (Charles Boyer) - our former monk. She's soon at a hotel near a palm-treed oasis where she again sees our mysterious troubled man as he is stumped over what to do when confronted by a very seductive dancing girl. Domini becomes friends with him, though knows nothing of his past - romance soon to follow. This film is sentimental, melodramatic, and different (in a way, almost surreal and even a bit campy) - I found it to be quite fun and entertaining. The photography in this is really interesting - it is full of extreme facial close-ups and beautiful color shots of caravans of horses crossing the desert, silhouetted figures against a sunset sky. Marlene Dietrich gives a nicely done, though restrained, performance here and looks gorgeous. Charles Boyer - not usually one of my favorites - is actually pretty good in this, I think the part sort of suits him and he looks quite young and handsome too. Basil Rathbone is fine here, except given very little to do. Another great orchestral score by Max Steiner helps keep the drama rolling - all in all, a very enjoyable film.", "label": 1, "domain": "movie_review", "token_count": 348, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0037", "text": "This is a extremely well-made film. The acting, script and camera-work are all first-rate. The music is good, too, though it is mostly early in the film, when things are still relatively cheery. There are no really superstars in the cast, though several faces will be familiar. The entire cast does an excellent job with the script. But it is hard to watch, because there is no good end to a situation like the one presented. It is now fashionable to blame the British for setting Hindus and Muslims against each other, and then cruelly separating them into two countries. There is some merit in this view, but it's also true that no one forced Hindus and Muslims in the region to mistreat each other as they did around the time of partition. It seems more likely that the British simply saw the tensions between the religions and were clever enough to exploit them to their own ends. The result is that there is much cruelty and inhumanity in the situation and this is very unpleasant to remember and to see on the screen. But it is never painted as a black-and-white case. There is baseness and nobility on both sides, and also the hope for change in the younger generation. There is redemption of a sort, in the end, when Puro has to make a hard choice between a man who has ruined her life, but also truly loved her, and her family which has disowned her, then later come looking for her. But by that point, she has no option that is without great pain for her. This film carries the message that both Muslims and Hindus have their grave faults, and also that both can be dignified and caring people. The reality of partition makes that realisation all the more wrenching, since there can never be real reconciliation across the India/Pakistan border. In that sense, it is similar to \"Mr & Mrs Iyer\". In the end, we were glad to have seen the film, even though the resolution was heartbreaking. If the UK and US could deal with their own histories of racism with this kind of frankness, they would certainly be better off.", "label": 1, "domain": "movie_review", "token_count": 431, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0038", "text": "I've read one comment which labeled this film \"trash\" and \"a waste of time.\" I think this person got their political undies tugged a bit too much. I just rented the new Criterion DVD's of both Yellow and Blue. These films--although hardly great--have at least become of historical interest as to the so-called \"radical student political-social movement\"of the late '60s. I hadn't seen either picture and from their notorious reputation, I was expecting some real porn (there isn't any.) There is frontal nudity (including the still verboten frontal male nudity (automatic NC-17--the Orwellian-X) in the U.S. But I wasn't expecting the films in-your-face democratic socialist message. Though it tends to the simplistic , I thought it occassionally made its points well. Both films occassionally had me laughing out loud and the director's commentary made it clear there was plenty of parody in the film. Especially the supposedly \"pornographic\" sex scenes. The first such scene is very realistic. The lead couple is clumsy, inept, funny and endearing in their first copulation scene. The second--which caused the most complaints--has faked cunnilingus and fellatio. And the last is the end of an angry fight, that is believable. The extras include an informative introduction to the film, an interview with the original American distributor and his attorney, excerpts from trial testimony in the U.S. and a \"diary\" commentary by the director on some scenes. This is the film that \"blue noses\" wouldn't let alone and led to the pivotal \"prurient interest with no social redeeming value\" standard that, thankfully, still stands. Those with an interest in the quirks of history will find this a must see.", "label": 1, "domain": "movie_review", "token_count": 370, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0039", "text": "The third collaboration for Karloff and Lugosi sees a move away from Poe and into the realm of the science fiction serial. Karloff plays Dr. Janos Rukh, creator of a device that can capture light rays through his telescope in the Carpathian Mountains and translate them into pictures that form a visual history of the universe. Before several guests, including Lugosi as Dr. Benet, an astro-chemist who had previously scoffed at Rukh's theories, he demonstrates the existence of an unknown radioactive element, here termed \"Radium X\", contained in a meteor that fell to Earth in darkest Africa several thousand years ago. Karloff joins the expedition to prove his theories, but Radium X is a tricky compound - it levels mountains at long range, and cures blindness at short range. Rukh is careless, however, and poisons himself, glowing in the dark rather like those old Ready Breck commercials! Dr. Benet is on hand to devise a counter-active for the radiation, but combination of poison and cure drives Rukh insanely paranoid. Convinced he has been cheated, he seeks out the members of the expedition in Paris, including his estranged wife, and his very touch while in his radioactive state means death... Along the way we get the old pseudo-scientific idea that a dead person's eyes record the image of their killer (a remarkably distinct Karloff!) and the Radium X device used to symbolically melt statues that represent the expedition members. And even a touch of James Whale in a cockney landlady in Paris! The Invisible Ray is great fun, aside from the Gothic opening it's interesting to see Universal move the action around to Africa and Paris. The film lacks pace, but is always absorbing. Karloff slightly overdoes his performance but Lugosi is terrific. Universal used the basic story outline again in Man Made Monster, this time with Lon Chaney Jr. as the glowing menace (this time caused by electricity) and Lionel Atwill as a much madder doctor than Lugosi is here. The Invisible Ray is a sombre and clever little film with much to admire. Not as famous as other Universal Horrors, perhaps, but it works and is highly entertaining.", "label": 1, "domain": "movie_review", "token_count": 453, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0040", "text": "First of all this was not a three hour movie - Two hours, ten minutes... last time i checked commercials aren't actually part of a movie! Perhaps, though, it should've been a two parter for a total of about 3 hours? Yeah, would have gotten more in, been able to explore some more emotion. Overall, though, it was an interesting look into the lives of Lucy and Desi. I watch I Love Lucy from time to time and love it but never have I read or seen a biography, never knew anything about their lives off the screen. Because of this movie I do now but I'm not so sure that's a good thing. Everything here no one really needed to know. This was essentially a movie that didn't need to be made. But it was made and the reason is because Lucy & Desi are still such huge stars and certain people in American society feel that the rest of society needs to know ALL about our tv and movie stars. That is definitely so not true and very, very sad. Anyway, what was shown here in Lucy was pretty good. Two complaints - the actress who played Viv Vance - not great casting at all. And the switch from Madeline Zima to Rachel York.... uhhh, like Lucy had plastic surgery and all of a sudden she's a whole new person!? That wasn't too great. But the story went on and focused on the rocky relationship between Lucy & Desi. No, the kids were not shown very much at all and that wasn't necessarily a drawback to this movie because like I said, this focused mainly just on Lucy & Desi. Had there been more time, had the story been more about Lucy's entire life, then maybe the kids woulda been there more. But they weren't so we got to see the likes of Gable & Lombard, Red Skelton and Buster Keaton very briefly instead. Wow, that was one thing about this story that I thought was really cool: his presence and influence in Lucy's life. Really neat and it's too bad that wasn't explored more. Oh well. What was explored was done well, for the most part. Honestly, I don't think I'll ever watch this again and I don't think this movie'll be that memorable. For someone who digs I Love Lucy but isn't an enormous Lucille Ball fan, this should be an interesting watch. My grade for this: B", "label": 1, "domain": "movie_review", "token_count": 494, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0041", "text": "Being a transplanted New Yorker, I might be more critical than most in watching City Hall. But I have to say that before even getting to the story itself I was captivated by the location shooting and the political atmosphere of New York City that Director Harold Becker created. For example there's a reference to Woerner's Restaurant in Brooklyn where political boss Frank Anselmo likes to eat. There is or was a Woerner's Restaurant on Remsen Street in downtown Brooklyn when I lived in New York back in 1996. It was in fact particularly favored by political people in the Borough though they did have a couple of other hangouts. No surprise because the script was co-authored by Nicholas Pileggi who still writes both political and organized crime stories. He knows the atmosphere quite well and he sure knows how those two worlds cross as they do in this film. A detective played by Nestor Serrano goes for an unofficial meeting with a relative of mob boss Anthony Franciosa and things erupt and three people wind up dead, including an innocent 6 year old boy whose father was walking him to school. The story mushrooms and at the end it's reached inside City Hall itself. Al Pacino plays Mayor John Pappas and John Cusack is his Deputy Mayor a transplanted Louisianan, a state which has a tradition of genteel corruption itself. He's the outsider here and in trying to do damage control, Cusack finds more than he bargained for, Danny Aiello plays Brooklyn political boss Frank Anselmo and for those of you not from New York, his character is based on the late Borough President of Queens Donald Manes who was also brought down by scandal. He's very much the kind of Brooklyn politician I knew back in the day whose friendship with organized crime and favors done for them, do Aiello in. City Hall was the farewell performance on film for Anthony Franciosa, one of the most underrated and under-appreciated talents ever on the screen. No one watches anyone else whenever he's on. Al Pacino's best moment is when at the funeral of the young child killed, he takes over the proceedings and turns it into a political triumph for himself. His is a complex part, he's a decent enough man, but one caught up in the corruption it takes to rise in a place like New York. For those who want to know about political life in the Big Apple, City Hall is highly recommended.", "label": 1, "domain": "movie_review", "token_count": 498, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0042", "text": "In all my 60 years of age, I have learned that when we watch a movie there is an identification (whether we want it or not) implicit with an specific character. Sometimes because the character executes certain gesture, sometimes because the character speaks determinate word, or sentence – that we use or that we would like to use – in determinate situation. The movie in question, should be seen by this point of view. Who now find a parking space – in a mall,downtown, or in the street - taken by a car whose driver can't remember to think that he is not the only driver in the world? Who hasn't the urge to \"rubber out\" the ill mannered spat? Haven said that I ask: - Did you identify with DELLA (played by Kim Bassinger)? If your answer is: YES!, then try not to find absurd details – comparatively with life's reality – in the movie, because you'll certainly find the movie ridiculous. Abstractions made, you will see that the movie has moments of surprise, such as: 1- In the sequence in which Della grabs the box of tools in the trunk (does that box contains a gun, and does she haves the guts to use it?); 2- In the sequence in which Terry dies whilst falling; 3- In the sequence in which Della gets attracted by Chuckie's \"mermaid's call\". If you have already seen the movie, or if are planning seeing, keep in mind that there are \"realistic\" movies, \"fiction\" movies, \"political\" movies, and movies in which you can \"wash your soul\" To exemplify the last one, we can quote: \"Tropa de Elite\". According to newspaper's , there was unanimous applause when BOPE officials take certain attitudes. (As I have seen the movie in DVD, I could not ascertain the audience's reaction) As for the direction part (Susan Monford), interpretations (Kim Bassinger, Lukas Haas, Craig Scheffer, etc. Edition (William M. Anderson – 'Dead Poets Society', 'Green Card' – exceptional edition, 'Robocop 2', etc. It is well situated in context. In a scale of 1(Awful) to 10(Master Piece), I rate \"When She Was Out\" a 7(Regular).", "label": 1, "domain": "movie_review", "token_count": 489, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0043", "text": "Sandra Bernhard is quite a character, and certainly one of the funniest women on earth. She began as a stand-up comedienne in the 1970s, but her big break came in 1983 when she starred opposite Jerry Lewis and Robert De Niro in Scorsese's underrated masterpiece, \"The King of Comedy\". Her film career never quite took off, though. She did make a couple of odd but entertaining pictures, such as \"Dallas Doll\" (1994) or \"Dinner Rush\" (2000), but the most amazing parts were those she created for herself. \"Without You I'm Nothing\" is undoubtedly her best effort. It's an adaptation of her smash-hit off-Broadway show which made her a superstar – and Madonna's best friend for about four years. In ten perfectly choreographed and staged scenes, Sandra turns from Nina Simone to Diana Ross, talks about her childhood, Andy Warhol and San Francisco and performs songs made famous by Burt Bacharach, Prince, or Sylvester. Director John Boskovich got Sandra to do a 90-minute tour-de-force performance that's both sexy and uniquely funny. If you are a Bernhard fan, you can't miss out this film; it's a tribute as well to her (weird) beauty as to her extremely unconventional talent as a comedienne. And it has influenced filmmakers in their work – \"Hedwig and the Angry Inch\", for instance, would look a lot different if \"Without You I'm Nothing\" didn't exist.", "label": 1, "domain": "movie_review", "token_count": 316, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0044", "text": "Possible SPOILERS: Not Sure While watching The Lion King 1 1/2, I couldn't help but have mixed feelings about the whole film. It is definitely a good way to spend about an hour and 15 minutes. But there is nothing about it that would give you the same sort of feeling that The Lion King did. The story, for those who haven't read the other reviews, is about how Timon and Pumbaa meet, and how they affect events in the original Lion King. There are actually some very funny jokes in the movie. My favorite part is when they show the pair raising Simba. However, for me the worst parts have to be when they show Timon and Pumbaa directly interfering with the events of the original. I can never look at the \"Circle of Life\" or \"Can You Feel the Love Tonight\" sequences the same way again (I'm okay with the \"I Just Can't Wait to be King\" sequence). The voice talents are excellent. Nathan Lane and Ernie Sabella do a wonderful job, as do Matthew Broderick, the guy who does Rafiki, and the hyenas. Even the actor who does young Simba sounded enough like Jonathon Taylor Thomas for me. But why did they even include a voice actor for Zazu? He literally had only 2 lines, and neither were very necessary. The additions of Julie Kavner and Jerry Stiller only add to the talent, although you still can't hear Timon's Mom's voice and not think of Marge Simpson. There are some scenes that seem to not fit in with the original, the one coming to mind being when they are pride rock at the end. How did they have time to fit in the initial fight with the hyenas? As for the DVD itself, you can't help but feel that for a 2 disc set, the special features are especially lacking. They could have easily fit a commentary, or another aspect ratio on the 1st disc. I enjoyed the \"Who Wants to be King of the Jungle\" game, even if it is the most shameful example of cross promotion I've ever seen. Some of the questions are actually difficult. Overall, a good movie, though not nearly as good as TLK or even TLK2.", "label": 1, "domain": "movie_review", "token_count": 469, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0045", "text": "In anticipation of Ang Lee's new movie \"Crouching Tiger, Hidden Dragon,\" I saw this at blockbuster and figured I'd give it a try. A civil war movie is not the typical movie I watch. Luckily though, I had a good feeling about this director. This movie was wonderfully written. The dialogue is in the old southern style, yet doesn't sound cornily out of place and outdated. The spectacular acting helped that aspect of the movie. Toby Maguire was awesome. I thought he was good (but nothing special) in Pleasantville, but here he shines. I have always thought of Skeet Ulrich as a good actor (but nothing special), but here he is excellent as well. The big shocker for me was Jewel. She was amazingly good. Jeffrey Wright, who I had never heard of before, is also excellent in this movie. It seems to me that great acting and great writing and directing go hand in hand. A movie with bad writing makes the actors look bad and visa versa. This movie had the perfect combination. The actors look brilliant and the character development is spectacular. This movie keeps you wishing and hoping good things for some and bad things for others. It lets you really get to know the characters, which are all very dynamic and interesting. The plot is complex, and keeps you on the edge of your seat, guessing, and ready for anything at any time. Literally dozens of times I was sure someone was going to get killed on silent parts in the movie that were \"too quiet\" (brilliant directing). This was also a beautifully shot movie. The scenery was not breath taking (It's in Missouri and Kansas for goodness sakez) but there was clearly much attention put into picking great nature settings. Has that rough and rugged feel, but keeps an elegance, which is very pleasant on the eyes. The movie was deep. It told a story and in doing so made you think. It had layers underneath that exterior civil war story. Specifically, it focused on two characters that were not quite sure what they were fighting for. There were many more deep issues dealt with in this movie, too many to pick out. It was like a beautifully written short story, filled with symbolism and artistic extras that leaves you thinking during and after the story is done. If you like great acting, writing, lots of action, and some of the best directing ever, see this movie! Take a chance on it.", "label": 1, "domain": "movie_review", "token_count": 495, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0046", "text": "This movie brings back many memories of the classic cinema of old, where actors didn't have to take their clothes off to make viewers watch their film. Firstly I think the main plus point of this movie is the amazing chemistry between Shahid and Amrita, it is definitely the making of the film. I have seen lots of comments regarding the film being sickly sweet and overly slushy. In response to this, I think to a certain degree this is a correct analysis, however considering this is a Barjatya film I think that compared to MPK, HAHK, HSSH and MPKDH, it has been toned down significantly. HSSH was almost unbearable to watch in some places. In this film however, when the sentimental moments come along, you find yourself smiling, wishing the budding couple all the best and hoping that nothing bad happens to them. Another major plus point is the performances of Shahid and Amrita. Both have acted very well, especially Shahid who looks great in the film. Amrita looks simply stunning and should be taken seriously as a future major star. Although I really enjoyed the film as a whole, I do feel that it was too long. Some of the middle could have been trimmed off and it would maybe made even more of an impact. I also think the music, although it fits into the film when you see the situations is slightly old fashioned and the movie could have benefited if a more up-to-date soundtrack had been available. Although the picturisation of the songs Mujhe Haq Hain and Hamari Shaadi Mein are wonderful. All in all, I definitely recommend this film, its romantic, looks stunning and has a dramatic climax (I won't go into details, just in case you haven't seen it. PS. If you're prone to crying-take a tissue! (I needed several)", "label": 1, "domain": "movie_review", "token_count": 377, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0047", "text": "It's a strange, yet somehow impressive story, about love. Personnaly, I never run over such a twist-off story in real life. But, I can image there is. It's a story that promises to be \"sick\" from the title. But, after I watch it, I didn't get this feeling of \"sickness\" which I would surely have regarding society rules. It's something beautiful in this movie... something impressive...which I cannot contradict using any moral or society rules. The movie focuses mostly on relation between Kiki and Alex. You can see how this relation starts, evolves and finally ends. You feel the moment when this love blossoms, the first whispers, touchings. You feel the connection. And no moment I though this is immoral. You even hope it will not break in the end....it cannot break...it's not right. You feel the pain of being hart broken in the end... But,I need also to add a negative spin to this comment...I don't know if the story is not somehow *showed* to give the feeling that these relations are sick only in form, but not in content. You don't have the total story, but only fragments. When movie has started, the relation between Kiki and Sandu was already in place. So, no clue about the nature of the relation. You feel only a tension between them...a fight between the need for love and desire to break this relation. I think this line of Kiki to Sandu says all: \"I want to stop...and if you love me, you will do as I ask you\". This movie will probably stir some questions about what is love and what is to be moral...and where's the limit between them. I don't know if the idea of this movie is \"love conquers all...even social and moral standards\" or \"love is beautiful...no matter how or where\". But in my opinion, this movie is already a success for the simple reason that it makes you think...", "label": 1, "domain": "movie_review", "token_count": 414, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0048", "text": "Samuel Fuller brings his customary playful and stylish direction to this seedy, pulpy story and manages to create one of the undiscovered gems of 1950s cinema. Richard Widmark plays a petty thief tough guy (a role he perfected over the course of many movies), who snatches a young lady's (Jean Peters) wallet on a New York subway and with it a piece of much-wanted microfilm. This is 1953, so of course the microfilm is property of Commie spies who will stop at nothing to get it back. When the girl shows up at Widmark's waterfront shack, sent by an abusive boyfriend to reclaim the film, Widmark senses the opportunity to shake her and her \"comrades\" down for big money. The plot thickens, people start dying, and Widmark and Peters fall in love. Fuller handles the love story clumsily, but more from a sense of indifference than bad writing or direction. It's as if he included a love story under duress, and so made it intentionally unbelievable, as love stories so frequently were and still are in Hollywood films. Peters gives a remarkable performance as a tough New Yawk cookie, part gangster moll and part damsel in distress. When violence occurs against her, we genuinely care about her well being, and it's typical of Fuller's renegade, ahead-of-his-time style that a happy ending is not necessarily a foregone conclusion. But the ultimate success of \"Pickup on South Street\" rests squarely on the world-weary shoulders of Thelma Ritter, who plays Moe, a feisty lady who makes money any way she can, whether that be selling neckties or acting as a police informant. Ritter gives the performance of her career; in a breathtaking monologue, she conveys without ever directly addressing it the entire sad trajectory of her character's life, and the hopelessness she feels waking up every morning to a world of struggle, crime and hardship. It's as if every character Ritter ever played converges for one brief instant to give vent to all of the emotions they weren't given a chance to vent in those other movies. The scene is the highlight of Fuller's film, and a highlight of 50s cinema, period. Grade: A+", "label": 1, "domain": "movie_review", "token_count": 464, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0049", "text": "Vince Lombardi High School has a new principal--the evil Ms. Togar (Mary Woronov). She intends to ban rock and roll music all together. She butts head with Riff Randall (P.J. Soles) who LOVES the Ramones. Also the head of the school football team (Vincent Van Patten) can't seem to connect with any girl--not realizing cute Kate Rambeau (Dey Young) is in love with him. An instant midnight movie. This was put in general release and almost immediately bombed--but as a midnight movie it was a huge hit and kept playing all through the 1980s. I remember attending more than a few of those when I was in college--it was like a party! People were singing along with the songs, laughing uproariously at every joke and generally just having fun. Seeing it now as an adult I can't imagine why I loved this so much. The script is juvenile and full of groaners that I couldn't believe I was hearing. Characters change at random and the movie goes jumping all over the place. What saves this are some truly funny lines and wonderful performances by Soles and Woronov (who is REALLY enjoying herself). Also everyone is full of energy and playing their roles WAY over the top (as they should). As for the Ramones...I was never a fan. I DO like the title tune but the rest of the songs never really caught me. If you're a Ramones fan you might give this a higher rating. SPOILER WARNING!!!! This is mostly for kids (it has a PG rating) who will probably find it silly but fun. I especially think they'll like the end when the high school is blown up! SPOILER END!!!! So, if you're in the mood for a silly midnight movie from the 1980s you might like this. Otherwise stay away. I give it a 7.", "label": 1, "domain": "movie_review", "token_count": 398, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0050", "text": "When I first heard about Moon Child, I thought it was a joke. After a few months, I figured I guess it's for real. The few reviews I read that WEREN'T made by squealing fangirls were not very promising. When I was given the opportunity to watch it, I was fully prepared to groan, wince, and otherwise need to close my eyes to avoid the silliness. I was more than a little surprised, and in a good way. Yes, Moon Child has its moments of cheese, camp, and general dorkiness -- I think that's kind of impossible to avoid when it involves Gackt Camui, a man not known for his sanity -- but all in all, it was wholly enjoyable. No, it is not a work of cinema genius but it is very, very heartfelt, amusing, with fun choreography, a touching score, and a fun cast. I know little of Japanese cinema so I can't really judge the acting but considering the fact that the cast was speaking a language or extreme dialect foreign to them at one time or another and that a couple of them have almost no acting experience, I was rather impressed. If you can enjoy a good action movie, a good drama, a good comedy, see this film. At least rent it since it's coming to Region 1. On a side note, there is zero homosexual/homoerotic content in this film. I didn't even see much of a subtext. Don't let people that read too much into things ruin this for you.", "label": 1, "domain": "movie_review", "token_count": 319, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0051", "text": "Barbara Stanwyck plays Lily Powers. She's a waitress for her father's speakeasy in a little crummy mining town. He also sells her to men. She escapes to New York and literally sleeps her way to the top. Originally I had only seen the 71 minute version but it's pretty extreme--for its time. Nowadays it's pretty tame. The movie moves very quickly and has tons of sexual innuendo--some of it comes off as pretty silly (but fun) today. It moves so quickly you can easily ignore that most of it could never happen--even in 1933. There's nothing classic or monumental about this--it's just a quick, gleefully dirty little film that's lots of fun. It only falls apart at the end with a little \"moral\" ending that the censors demanded. It comes across as unbelievable and stupid (I saw it in a theatre and the audience laughed at it--one guy quite rightfully said \"No way\") I just saw the uncut 75 minute version which has a different, somewhat tragic and MUCH better ending. This version was thought to be lost until 2004 when it was discovered by mistake! I believe this is the only one in release--but be aware. The acting is good--Stanwyck jumps into her role and plays it WAY over the top. She makes you believe that she enjoys being cruel and sleeping around. There are also strong supporting performances from handsome Donald Cook and George Brent. Also look for a pre-stardom John Wayne in a hilarious bit as a meek and mild office worker! Fun, dirty and fast. I give this a 9.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0052", "text": "And here's yet another piece of evidence to claim that we should all worship the Italian giallo and acknowledge it to be the absolute most unique sub genre in horror. Emilio Miraglia's \"The Red Queen Kills Seven Times\" is a totally mesmerizing wholesome of original plotting, stylish production values, enchanting music, great acting talents and inventively gory murder sequences. It's a fabulous giallo (released in the golden year 1972) that belongs in the top-five of every fan of Italian cinema. The storyline doesn't just introduce your average black-gloved & sexually frustrated killer, but blends good old-fashioned revenge motives with the macabre myth of the murderous \"Red Queen\". At young age, their grandfather tells the constantly fighting siblings Kitty and Evelyn about an uncanny lady who, once every 100 years on April 6th, kills seven people of which her sister is the inevitable last victim. Fourteen years later, Kitty has become the successful choreographer of a prominent modeling agency (even sharing her bed with the general manager) when suddenly the killing spree begins. Sister Evelyn would be the obvious culprit, but she moved to the States recently... Or has she? Complex yet compelling and involving red herrings are thrown at you every couple of minutes and the Red Queen character is definitely the most fascinating killer in giallo-history. Her face can never be seen, but she wears a blood red cloak and produces the most ghastly laugh whenever she made a new victim. She's not exactly gentle either, as her victims are barbarically stabbed with a dagger, dragged behind cars and even impaled on fences! That latter one is truly one of the greatest (= most gruesome) acts of violence I've ever seen! What more could you possibly request? Some classy and tasteful nudity, perhaps? The gorgeous female actresses got this more than covered, among them Barbara Bouchet and a young Sybil Danning. Emilio Miraglia isn't the most famous giallo-director, as he only made this one and the equally recommended \"The Night Evelyn Came Out of the Grave\", but his influence and importance should NOT be forgotten.", "label": 1, "domain": "movie_review", "token_count": 440, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0053", "text": "- Having grown tired of the rat race and cramped living conditions of New York City, Jim Blandings (Cary Grant) finds a property in the country for his wife and children. He's hoping to find the simple life. But, building a house proves to be anything but simple. As the headaches and the bills start piling up, so do the laughs. Will Mr. Blanding's ever get his dream house? - What makes this movie so special is the three main actors - Grant, Myrna Loy, and Melvyn Douglas. Any of three are capable of carrying a movie on their own, so when you combine their talents, almost every scene is special. Grant has always been a favorite of mine in this type of role. He is so good at playing the put upon husband. Loy is a always a joy to watch. The Thin Man films she made with William Powell are near perfect. And Douglas has become a favorite of mine over the last two or three years. Douglas also appeared in The Old Dark House, a particular favorite of mine. - The movie is definitely a product of its time. I get a kick out of imagining a time when you could build a two-story, three bedroom, four bathroom house on $15,000 income a year. Throw in the fact that your two children attend private school and you have a live-in maid and it becomes almost fanciful. - However, for anyone who has bought or built a house, many of the situations and predicaments the Blanding's find themselves in are easily relatable to today. And that's where the comedy comes in. How many people have done some of the stupid things the couple does in this movie only to end up costing more money than expected? - The biggest complaint I have about Mr. Blandings is the whole \"wife in love with best friend\" subplot. It's really not necessary to the plot and feels out-of-place and very uncomfortable as presented.", "label": 1, "domain": "movie_review", "token_count": 397, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0054", "text": "This show is quick-witted, colorful, dark yet fun, hip and still somehow clean. The cast, including an awesome rotation of special guests (i.e. Molly Shannon, Paul Rubens, The-Stapler-Guy-From-Office-Space) is electric. It's got murder, romance, family, AND zombies without ever coming off as cartoony... Somehow. You really connect with these characters. The whole production is an unlikely magic act that left me, something of a skeptic if I do say so myself, totally engrossed and coming back for more every Wednesday night. I just re-read this and it sounds a little like somebody paid me to write it. It really is that good. I just heard a rumor that it was being canceled so I thought I'd send off a flare of good will. This is one of those shows that goes under the radar because the network suits can't figure out how to make it sexy and sell cars with it. Do yourself a huge favor, if you haven't already, and enjoy this gem while it lasts. OK so one more thing. This show is clever. What that means is that every armchair critic/\"writer\" in Hollywood is gonna insert a stick up their youknowwhat before they sit down to watch it, defending themselves with an \"I could've written that\" type speech to absolutely nobody in their lonely renovated Hollywood hotel room. In other words: the internet. This is a general interest/anonymous website. Before you give your Wednesday TV hour to Dirty Sexy Money or Next Hot Model reruns or whatever other out and out tripe these internet \"critics\" aren't commenting on, give my fave' show a spin. It's fun. Good, unpretentious fun.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0055", "text": "Though this movie has a first rate roster of fine actors, special effects that are excellent, and a story line that is full of surprises, it wasn't picked up for studio distribution and went directly to DVD. Perhaps it contains too much 'anti-police force' information, or perhaps it is juts one too many action flicks released during a glut, but whatever the reason the big screens missed the opportunity, fortunately the new concept of releasing direct to DVD allows us to enjoy it. The theme is old: rookie reporter uncovers an inner circle of cops that are corrupt - in this case the F.R.A.T. (First Response Assault and Tactical) team, a group of well trained policeman created to clean up the mythical city of Edison from its low point of crime, drugs, prostitution etc. Working undercover the temptation of pocketing the confiscated goods and money proves too much of an opportunity and now, 15 years after its formation, FRAT is responsible for murder, drug trafficking, terrorizing innocent people etc. The lead dog is Lazerov (Dylan McDermott, who makes a terrifyingly real gangster!) and his partner Rafe Deed (LL Cool J, even more buff than usual and proving he can be a sensitive actor). Reporter Pollack (Justin Timberlake) catches wind of a 'bad mistake' and reports his theory of fraud and corruption to his paper's boss Ashford (the always reliably fine Morgan Freeman). Gradually Polack convinces Ashford and subsequently Wallace (Kevin Spacey, also a consistently fine character actor) and they aid Pollack in this investigative reporting. The closer Pollack gets to the truth the more surprises and bad incidents happen and the story runs pall mall toward a series of unexpected results. Timberlake lacks the charisma to carry the lead, especially in the company of such seasoned actors. But LL Cool J, Freeman, Spacey, and McDermott keep the well-oiled machine of a movie rolling to the very end. No, it is not a great movie, but it is one that makes for an edge of the seat action flick with a message. Grady Harp", "label": 1, "domain": "movie_review", "token_count": 433, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0056", "text": "\"Secret Sunshine\" reminded me of \"The Rapture\" (1991), with Mimi Rogers and David Duchovny, but this Korean production is a better film. It portrays super-religious Korean Christians in a provincial Korean city, and the main character's experiences interacting with them in the wake of a horrible personal tragedy. Shin-ae is a widowed single mother who moves to the city of Milyang ('Secret Sunshine' in Chinese) from Seoul with her young son. She has chosen Milyang because her late husband (killed in an auto accident) was born there, and she feels she needs to make a new start in life in a new place. She does not react well to the overtures of the local Christian zealots, one of whose members tries to convince her to come to their church and prayer meetings. Shin-ae is essentially irreligious and brushes these people off as politely as she can. In fact, she brushes just about everyone in Milyang off to begin with, but some of them are persistent in trying to invade her world, and the consequences are often hilarious. To say more would be to give the film away, but it should be noted that the performance of the woman in the lead role (Jeon Do-yeon) is stupendous. Having read that she won the Best Actress award at Cannes in 2007, I expected her to a decent job. But Ms. Jeon is captivating and it is impossible to take your eyes off her when she is on screen. The movie is a sort of harrowing Evelyn Waugh-esquire piece of work, showing how Fate can feel insane as much as strangely inevitable.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0057", "text": "This work is less about Steve Martin's character Davis, than it is about Kline (Mack) and Glover (Simon), and Kline and McDonnell (Claire), but the dialog inserted via Davis is pondering, contemplative, near-poetic existentialism at its best. He is witty, intelligent, and thoughtful in both dialog delivery and content. The writers deserved an Oscar. The performances are easy, relaxed, and natural; just what you would expect from \"A List\" actors. Martin contributes the performance which leads into his more recent Shopgirl, guiding you through life, love, and the pursuit of wisdom if not happiness. Kline is the straight - the suit - the conformist of the film, and as such his performance is crisp and refreshing. This work deals with life in all aspects. It engenders a true emotional investment in its characters, and leaves you feeling hopeful that Mankind is not doomed, after all, no matter WHAT you believe, deep down. All in all? This is delightful, with a gritty moment or two, and easy natural dialog which draws you in, assisting its audience in gaining a high enjoyment from this work. It's definitely worth your time, though it may not be every one's top choice as Friday/Saturday night entertainment. I really enjoyed the intelligence this exhibited. It's not typical, and was an unexpected surprise. Another wonderful surprise was the honesty exhibited herein. The couples and friends hold detailed conversations, which feel and sound fully honest and (again) natural. I was very impressed with this work, and will be adding it to the DVD collection soon. It rates a 9.1/10 from... the Fiend :.", "label": 1, "domain": "movie_review", "token_count": 342, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0058", "text": "Icy and lethal ace hit-man Tony Arzenta (a divinely smooth and commanding performance by Alain Delon) wants to quit the assassination business, but the dangerous mobsters he works for won't let him. After his wife and child are killed, Arzenta declares open season on everyone responsible for their deaths. Director Duccio Tessari relates the absorbing story at a constant snappy pace, maintains a properly serious and no-nonsense tone throughout, stages the stirring shoot-outs and exciting car chases with considerable rip-snorting brio, and punctuates the narrative with jolting outbursts of explosive bloody violence. Delon's suave and charismatic presence adds extra class to the already engrossing proceedings. This film further benefits from sterling acting by a bang-up cast, with praiseworthy contributions by Richard Conte as wise Mafia kingpin Nick Gusto, Carla Gravini as Arzenta's supportive lady friend Sandra, Marc Porel as Arzenta's loyal pal Domenico Maggio, Anton Diffring as ruthless, calculating capo Grunwald, and Lino Troisi as the venomous gangster Rocco Cutitta. Silvano Ippoliti's glossy cinematography boasts several graceful pans. Gianni Ferrio's funky score hits the get-down groovy spot. Erika Blanc and Rosalba Neri pop up briefly in nifty bit parts. Better still, there's no filler to speak of and we even get a decent dab of tasty gratuitous female nudity. The startling conclusion packs a mean and lingering wallop right to the gut. A solid and satisfying winner.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0059", "text": "Stoic and laconic soldier Sergeant Todd (a fine and credible performance by the ever reliable Kurt Russell) gets dumped on a desolate remote planet after he's deemed obsolete by ruthless and arrogant Colonel Mekum (deliciously played to the slimy hilt by Jason Isaacs), who has Todd and his fellow soldiers replaced with a new advanced breed of genetically engineered combatants. Todd joins a peaceful ragtag community of self-reliant outcasts and has to defend this community when the new soldiers arrive for a field exercise. Director Paul W.S. Anderson, working from a smart and provocative script by David Webb Peoples, depicts a chilling vision of a bleak, cold and harsh possible near future while maintaining a snappy pace and a tough, gritty tone throughout. Moreover, Anderson handles moving moments of humanity well (Todd's struggle to get in touch with his previously repressed feelings is genuinely poignant) and stages the stirring action scenes with rip-roaring gusto. Russell gives a strong and impressive almost pantomime portrayal of Todd; he conveys a lot of emotion without saying much and instead does the majority of his acting through his body movements and facial expressions. Bang-up supporting turns by Jason Scott Lee as brutish rival soldier Caine 607, Connie Nielson as the compassionate Sandra, Sean Pertwee as the kindly Mace, Jared and Taylor Thorne as mute little boy Nathan, Gary Busey as crusty seasoned veteran Captain Church, Michael Chiklis as the jolly Johnny Pig, and Brenda Wehle as the sensible Mayor Hawkins. Better still, this film makes a profound and significant statement about the spiritual cost of being a merciless soldier and the importance of intellectual strength over physical might. David Tattersall's polished cinematography, Joel McNeely's rousing full-bore orchestral score, and the first-rate rate special effects all further enhance the overall sterling quality of this superior science fiction/action hybrid outing.", "label": 1, "domain": "movie_review", "token_count": 391, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0060", "text": "Corbin Bernsen's sent letters to four criminal associates he's worked with in the past and it's a real intergenerational mix with Fred Gwynne, Lou Diamond Phillips, William Russ, and Ruben Blades. They're to meet him in this obscure Montana town and he doesn't explain why because he's then picked up by out of state police from New Jersey on a warrant. Of the criminal group that's been gathered together, they all know Bernsen, but don't know each other. A lot of comedy involved is them feeling each other out. As the oldest Gwynne though denying it kind of takes charge with the others grumbling, but going along. Especially when they figure out what Bernsen had in mind. As for Bernsen, he's got the good fortune to be picked up by a pair of bumblers in Ed O'Neill and Daniel Roebuck. He gets the drop on O'Neill and escapes. After that it's the four criminals trying to finish what Bernsen started and Bernsen getting away the police. In the intricately plotted screenplay, it's fascinating how both story lines keep intertwining with each other. Hoyt Axton as the local sheriff watches in amazement at what unfolds in his town. Disorganized Crime is a fabulously funny caper film by a bunch of players who seem mostly to have had a background in television or would soon. I can't say that anyone stood out in the cast they also seem to click so well together. Ironically none of these people are comedians per se, but they all exhibit a light comic touch that good directing brought out. Disorganized Crime is one very funny caper movie, the kind of film that well known pessimist Mr. Murphy would have written.", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0061", "text": "\"Sandra, the Making of a Woman\" is a standout among exploitation films, and is so for two reasons: (1) an excellent, yet effortless, performance by Monica Gayle, and (2) the fact that Gary Graver was at the helm of the project. These two talents, both of whom are quite underrated, make \"Sandra\" a film that should be seen. Another key element of the film's success is its realism -- there is nothing fake or \"Hollywood\" about this set-in-California film. It is truly a slice of life. The modest house in which Sandra lives at the beginning of the film, the simple dresses worn by the character, the scene where Sandra wakes up in the morning to find Uschi Digart bouncing at her front door, and Sandra sits on the couch without make-up, while Digart tries to sell her some cosmetics, looking truly as if she just woke up (but nevertheless beautiful), the harmless weirdo Sandra picks up who likes to make love with her while he wears a bra, the one-room apartment into which Sandra moves --all of these elements of the film seem totally real, and as such, the viewer is drawn into Sandra's little world from the beginning and immediately becomes interested in her and wants her to succeed. Sandra also makes her case for free love with eloquence and dignity and she comes off with a lot of class. This film could have easily failed in less competent hands, and could have gone off in any of the usual sexploitation directions, but the Garver/Gale team see to it that \"Sandra\" is not only the making of a woman but the making of an excellent film.", "label": 1, "domain": "movie_review", "token_count": 341, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0062", "text": "Being the Beatlemaniac that I am, I approached Two Of Us with a combination of fear and fascination. Having seen 'In His Life: The John Lennon Story', I was quite concerned that Two Of Us will turn out no better. The fact that Aidan Quinn and Jared Harris look absolutely nothing like John Lennon and Paul McCartney – even with some make-up and proper hairdos – didn't help one bit. But I was more than a bit pleasantly surprised. It's probably thanks to the involvement of Michael Lindsay-Hogg, who directed Let It Be in 1970 and consequently probably knew John and Paul quite well, that the characters and the dialogue came across as convincing as they did. (The writing credit for Two Of Us is given to a man named Mark Stanfield, of whom I know absolutely nothing; I feel confident that director Lindsay-Hogg had more than a bit to do with the script.) Two Of Us is not a biography of the Beatles; it has very little plot, in fact, and takes place all in one day in New York City. What it does is imagine a meeting between John and Paul in 1976, while John lived in New York. That meeting is entirely fictitious, of course – though it can't truly be disproved that such a meeting actually took place. But through that imagined conversation it gives us a glimpse into the personalities of these two great musicians – their intelligence, their sense of humor, their different reaction to stardom, and most of all their relationship; what made them such a great team, and what broke them up. Since it's a talk movie, nothing much except for dialogue between two characters for an hour and a half, it's likely to bore all but true fans of the Beatles; but it's a fantastic piece of writing and storytelling, and is both informative and touching. For those interested in these two musical giants, very quickly you'll get over the shock of how different the actors look from their counterparts and feel like John and Paul had come to life – so intimate and convincing is the script, and so committed are the actors. Two Of Us gives you priceless insight into the lives of two geniuses, and a tale that is both sad and funny. Most certainly recommended.", "label": 1, "domain": "movie_review", "token_count": 461, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0063", "text": "There are numerous films relating to WW2, but Mother Night is quite distinctive among them: In this film, we are introduced to Howard Campbell (Nolte), an American living in Berlin and married to a German, Helga Noth (Lee), who decides to accept the role of a spy: More specifically, a CIA agent Major Wirtanen (Goodman) recruits Campbell who becomes a Nazi propagandist in order to enter the highest echelons of the Hitler regime. However, the deal is that the US Government will never acknowledge Campbell's role in the war for national security reasons, and so Campbell becomes a hated figure across the US. After the war, he tries to conceal his identity, but the past comes back and haunts him. His only \"friend\" is Wirtanen, but even he cannot do much for the avalanche of events that fall upon poor Campbell... The story is deeply touching, as we watch the tragedy of Campbell who although a great patriot, is treated by disdain by everybody who surrounds him. Not only that, but he also gradually realizes that even the persons who are most close to him, have many secrets of their own. Vonnegut provides us with a moving atmosphere, with Campbell's despair building up and almost choking the viewer. Nolte plays the role of his life, in my opinion; he is even better than in \"Affliction\", although in both roles he plays tragic figures who are destined to self-destruction. Sheryl Lee is also excellent, and the same can be said for the whole cast in general. I haven't read the book, so I cannot appraise how the film compares to it. In any case, this is something of no importance here: My critique is upon the film per se, and the film wholeheartedly deserves a 9/10.", "label": 1, "domain": "movie_review", "token_count": 375, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0064", "text": "I was so surprised when I saw this film so much underrated... I understand why some of you dislike this movie. Its pace is slow, a characteristic of Japanese films. Nevertheless, if you are absorbed in the film like me, you will find this not a problem at all. I must say this is the best comedy I have ever seen. \"Shall We Dansu?\" is often considered a masterpiece of Japanese comedies. It is very different from Hollywood ones, e.g. Austin Powers or Scary Movies, in which a gag is guaranteed in every couple of minutes. Rather, it is light-hearted, a movie that makes you feel good. I love the movie because it makes me feel \"real\". The plot is straightforward yet pleasing. I was so delighted seeing that Sugiyama (the main role) has found the meaning of life in dancing. Before I watched the film I was slightly depressed due to heavy schoolwork. I felt lost. However, this film made me think of the bright side of life. I believed I was in the same boat of Sugiyama; if he could find himself in his hobby, why couldn't I? It reminded me of \"exploring my own future\" and discovering the happiness in my daily life. It is important to note that the actors are not professional dancers. While some of you may find the dancing scenes not as perfect as you expect, I kinda like it as it makes me feel that the characters are really \"alive\", learning to dance as the film goes on. Over all, this film is encouraging and heart-warming. As a comedy, it does its job perfectly. It definitely deserves 10 stars. And yes Aoki is funny :-D", "label": 1, "domain": "movie_review", "token_count": 345, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0065", "text": "I have to admit that for the first half hour or so of this movie I was basically lost. There had been some mildly amusing humour, but at best a barebones plot and a general sense of pointlessness that was on the verge of making me think that I was wasting my time. Then - for no apparent reason - I suddenly realized that I was enjoying this. There was no blinding moment of realization and no suddenly dramatic scene that grabbed me. In fact nothing very exciting happens in the entire movie. It was as if I just all of a sudden realized that the movie was meant to be largely pointless - and that in its very pointlessness was its charm. Morgan Freeman starred as an unnamed actor who finds a “little project” to jumpstart his career. He's going to play a supermarket manager, and spends the day in a neighbourhood supermarket to research the role. While there he meets and bonds with Scarlet (played by Paz Vega) - a cashier who wants more out of life. He helps her prepare for a job interview as if she's auditioning for a role, while she introduces him to real life. It's truly funny watching “him” (for that's how the character is identified in the credits) be overwhelmed by a visit to the local Target store. Freeman and Vega were great together, with a strange but completely believable sort of combined romantic but father-daughter chemistry. If you feel lost at the beginning, stick with this. In the end, it turns out to be a delightfully charming movie. 7/10", "label": 1, "domain": "movie_review", "token_count": 312, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0066", "text": "I remember watching this movie with my friends when we were 4 years old, but the weird thing is that I never watched it after that. The other day I was babysitting and my cousin never saw All Dogs Go To Heaven so we rented both movies and watched them together today and he really loved these movies. So many memories came back watching this movie once again and I have to admit I even cried a little. I'm 22 years old and the ending still gets to me. All Dogs Go To Heaven is one of the most touching animated films and I'm shocked honestly by this rating of 5.8, I thought this movie would bring back good memories for others as well. I admit the animation was a bit typical but the story is just so charming and fun. Charlie is a gambling dog who gets killed by another gambling dog, Carface. But when Charlie wants revenge he comes back to Earth with a watch that can't stop ticking or that's the end of his life again. When he and his best friend, Itchy, look for Carface and spy on him they find out how Carface gets all his money, he has a little orphan girl who talks to animals and finds out who is going to win the races. Charlie takes the girl, Ann-Marie, and makes fake promises in order to get the money. But he ends up learning that maybe he should put Ann-Marie first before himself when Carface goes back to him with a vengeance. All Dogs Go To Heaven is the perfect family film, it's not Disney, but this is an excellent family film to watch. Not to mention that it's just so cute and touching. I know it's ridicules and some people call me crazy, but this movie for me when I was a kid made me believe that dogs have souls. How could they not? They're just so loving, and I think I'm going to cry again. But anyways, I would just recommend this movie for anyone, it's a fun movie to watch. 7/10", "label": 1, "domain": "movie_review", "token_count": 412, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0067", "text": "An ultra-nervous old man, \"Mr. Goodrich,\" terrorized by the news that a gang is stalking the city and prominent citizens are disappearing, really panics when someone throws a rock through his window with a message tied to it, saying \"You will be next!\" He calls the detective agency wondering where are the guys he asked for earlier. Of course, it's the Stooges, who couldn't respond because had come into the office, robbed them and tied them up. Some detectives! The moment poor Mr. Goodrich hangs up the phone and says, \"I feel safer already,\" a monster-type goon named \"Nico\" appears out of a secret panel in the room and chokes him unconscious. We next find out that his trusted employees are anything but that. Now these crooks have to deal with the \"detectives\" that are coming by the house for Mr. Goodrich. Some of the gags, like Moe and Larry's wrinkles, are getting a bit old, but some of them will provoke laughs if I see them 100 times. I always laugh at Shemp trying to be a flirt, as he does here with Mr. Goodrich's niece, in a classic routine with a long, accordion-like camera lens. The act he puts on when he's poisoned is always funny, too. Shemp was so good that I didn't mind he was taking the great Curly's place. Larry, Moe, Curly/Shemp were always great in the chase scenes, in which monsters or crooks or both are chasing them around a house. That's the last six minutes in here. At times, such as this film,", "label": 1, "domain": "movie_review", "token_count": 342, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0068", "text": "My rating refers to the first 4 Seasons of Stargate SG-1 which are wonderfully fresh, creative and addicting. When the cast stepped through the gate, you never knew what lay on the other side! Starting around Season 5, the show took a different focus - still good, but different. The series follows the adventures of a team of humans (and one alien) who regularly venture into a planetary transport device called the \"Stargate\". The backstory of the series is based on the characters and events of the movie \"Stargate\" in which the device is discovered during an archaeological dig in Egypt. The episodes are light (innocent and easy to watch) and very creative. Many of the inventive stories could easily have been made into great sci-fi movies of their own. What happens next was always unpredictable. The characters on which the show rests are also well-defined and brilliantly performed. Their tone is serious, but the dialog is flowered with incredible wit and humor. They are simply fun to watch. Starting somewhere around Season 5, the series started to evolve into a continuing storyline based on fighting a single foe (the Goa'uld, then the Ori). The plots become more complex (a lot more political/strategic oriented) and interdependent. The characters were still as great as ever but the show was different in nature. One thing that must be mentioned is to watch the episodes that commemorated the 100th and 200th episodes. They are simply can't-miss shows. They exhibit the creative and wildly humorous genius that carried the series through 10 seasons. If you are a sci-fi fan, watch a few episodes of the first 4 Seasons and you'll likely be hooked. If you like evolving story lines between two opposing sides, you have 10 seasons of shows to look forward to.", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0069", "text": "It is not every film's job to stimulate you superficially. I will take an ambitious failure over a mass-market hit any day. While this really can't be described as a failure, the sum of its parts remains ambiguous. That indecipherable quality tantalizes me into watching it again and again. This is a challenging, provocative movie that does not wrap things up neatly. The problem with the movie is in its structure. Its inpenetrable plot seems to be winding up, just as a second ending is tacked on. Though everything is technically dazzling, the movie is exactly too long by that unit. The long-delayed climax of Leo's awakening comes about 20 minutes late. Great cinematography often comes at the expense of a decent script, but here the innovative camera technique offers a wealth of visual ideas. The compositing artifice is provocative and engaging; A character is rear-projected but his own hand in the foreground isn't. The world depicted is deliberate, treacherous and absurd. Keep your eyes peeled for a memorable, technically astonishing assassination that will make your jaw drop. The compositions are stunning. Whomever chose to release the (out of print) videotape in the pan & scan format must have never seen it. Where is the DVD? It is unfathomable how anyone could give this much originality a bad review. You should see it at least once. You get the sense that von Trier bit off more than he could chew, but this movie ends up being richer for it. I suspect he is familiar with Hitchcock's Foreign Correspondent in which devious Europeans also manipulate an American dupe and several Welles movies that take delirious joy in technique as much as he does. All von Trier movies explore the plight of the naif amidst unforgiving societies. After Zentropa, von Trier moved away from this type of audacious technical experiment towards dreary, over-rated, un-nuanced sap like Breaking the Waves and Dancer in the Dark.", "label": 1, "domain": "movie_review", "token_count": 411, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0070", "text": "This is a feel-good movie and nothing more. And for that, it is great fun to watch. Sure it skims over political issues. But so what? I am sure she wasn't trying to make 'Good Night and Good Luck' here. Let's not try to make it anything else but what it is...light fare. And very enjoyable at that! Do we remember what 1984 was like? We've become very sophisticated according to the media as far as what we watch or not. I tend to differ on this point. Goldie knew this was fun-fluff and she went ahead and did it. Like her lightest fare: Protocol, Overboard, Housesitter, Wildcats, Private Benjamin, Seems Like Old Times, Foul Play, Death Becomes Her, First Wives Club and the remake of Out-of-Towners, GOLDIE knows what she is doing...she plays every role for the camp that you can get out of it! Goldie just knows herself really well, and she knows what she can do really well. She has always made me laugh cheerfully and innocently. I loved her in Laugh-In and every thing she's ever been in. She has never tried to be anything else but who she is...and that's that bubbling, giggly, girl next door who happens to be very pretty and has a smile and a laugh that will always endear me and remind me that life is pretty short and you've just got to lighten up because before you know it...you are old, wrinkled and suffering from one of life's inevitable ailments. If it even comes that late. I appreciate Goldie for what she is: a lovable, comic actress.", "label": 1, "domain": "movie_review", "token_count": 346, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0071", "text": "Steve Carell has made a career out of portraying the slightly odd straight guy, first on 'The Daily Show', and then in various supporting roles. In Virgin, Carell has found a clever and hilarious script that perfectly capitalizes on his strengths. Carell plays Andy Stitzer, a middle aged man living a quiet, lonely life. Andy is a little odd, but in an awkward nice guy sort of way. One night, while socializing with his co-workers for the first time, Andy accidentally reveals that he is a virgin. His co-workers, David (Paul Rudd), Jay (Romany Malco), and Cal (Seth Rogen) initially tease Andy about his situation. But it's clear that all three have a certain respect for the decent human being that Andy is, and they resolve to help him out by assisting him in ending his virginity. And so begins Andy's quest into adulthood. Andy is the quintessential innocent, and the bulk of the humor derives from his naiveté to the situations he finds himself in throughout the film. Some of the humor is crude gross out stuff, but most of it is just well done intelligent comedy. In addition, I found some parts of the film actually pretty touching as Andy finds himself developing both romantic relationships and friendships perhaps for the first time in his life. I'm not trying to portray the movie as a love story or a drama; it's a rolling in your seats comedy. Still, every good comedy I have ever seen contains enough heart for you to care about the characters. A good comparison would be 'The Wedding Crashers' from earlier this summer. Virgin has a similar humor, but is perhaps a bit more vulgar in some of its jokes. I particularly loved the ending of the film, which I thought was a perfect way to end the flick. Without giving anything away, it reminded me of 'Something About Mary'. Very light and fun; it leaves you laughing and smiling, which is exactly how you should feel when you finish a comedy. I would highly recommend.", "label": 1, "domain": "movie_review", "token_count": 412, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0072", "text": "When I think 'Women in Prison', my mind often goes to sleazy Italian/Spanish productions by directors such as Jess Franco and Bruno Mattei; and while these films are often very sleazy, they're also very samey and once you've seen one; you might as well have seen them all. I have to admit that these types of films generally aren't my favourites; but in fact the idea of women behind bars has been done very well on several occasions outside of Italy and Spain; and Roger Corman's New World Pictures is responsible for some of the best of them. Caged Heat is the directorial debut of Oscar-winning director Jonathan Demme, and it's a well done little flick with plenty of entertainment value! Naturally, the film centres on the story of a girl who is caught committing crime and sent to a women's' prison where she is introduced to a host of violent inmates. This prison is ruled over by the stuff wheelchair bound Superintendent McQueen; and she takes offence to a play put on by the girls; leading them to plot an escape. This film is much lighter on the sleaze than I'm used to in a women in prison flick; but this is more than compensated for by some great action scenes and dialogue and that's what ensures Caged Heat entertains throughout. It does have to be said that the plot is not particularly original or ambitious and basically follows a structure similar to many other women in prison films that came before it; but that's not such a big problem. The film never gets boring and is peppered with standout scenes; including an escape attempt while out working in a field and a bank robbery. The film is helped along by assured direction from the man who would go on to helm the masterpiece The Silence of the Lambs and a great cast with plenty of standouts; including best of all the legendary Barbara Steele in the role of the head prison warden. Overall, Caged Heat may not leave the viewer with much to think about by the end; but it's a brilliantly entertaining little grindhouse flick and anyone that enjoys this type of film will surely want to track it down.", "label": 1, "domain": "movie_review", "token_count": 433, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0073", "text": "This familiar story of an older man/younger woman is surprisingly hard-edged. Bikers, hippies, free love and jail bait mix surprisingly well in this forgotten black-and-white indie effort. Lead actress Patricia Wymer, as the titular \"Candy,\" gives the finest performance of her career (spanning all of 3 drive-in epics). Wymer was precocious and fetching in THE YOUNG GRADUATES (1971), but gives a more serious performance in THE BABYSITTER. The occasional violence and periodic nudity are somewhat surprising, but well-handled by the director. Leads Wymer and George E. Carey sell the May/December romance believably. There are enough similarities between THE BABYSITTER and THE YOUNG GRADUATES to make one wonder if the same director helmed the latter film as well. Patricia Wymer, where are you? Hailing from Seattle, WA, Miss Wymer had appeared as a dancer on the TV rock and roll show MALIBU U, before gracing the cover (as well as appearing in an eight-page spread) of the August, 1968 issue of \"Best For Men,\" a tasteful adults-only magazine. She also appeared as a coven witch in the popular 1969 cult drive-in shocker THE WITCHMAKER. THE BABYSITTER has finally made its home video debut, as part of the eight-film BCI box set DRIVE-IN CULT CLASSICS vol. 3, which is available from Amazon.com and some retail stores such as Best Buy.", "label": 1, "domain": "movie_review", "token_count": 319, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0074", "text": "For quite a long time in my life, I either did not like this film, or I liked this film but not as much as many more. I watched it recently (at a sleepover, funnily enough) and I liked it more than I had done since I was under 6 or something. I now appreciate it more, as I do with a few other Disney classics that I have watched recently (including \"Sleeping Beauty\" and \"Pinnochio\" or however you spell it). I now very much appreciate the animation, the clever \"Disney\" plot turns, the humour from the mice, the emotions expressed and the plot. The animation is very well done, often it seems you are wherever the other characters are, watching them. The animation also does well portraying the styles of the backgrounds, including the town (which is shown twice briefly). Disney changes this from the original fairy tale in a surprisingly good way, injecting clever plot turns ,such as the mice making the clothes and the key part (usually I do not like Disney films very much if they are not that similar to the original story, but with this I am not overly bothered. I feel they made necessary changes to make this a good Disney film. Often I do not think Disney changed the book in a good way in some of their films). You know the story already, Cinderella is a girl working for her horrible stepmother and stepsisters. She goes to a ball with the help of her fairy godmother and loses a glass slipper... This is a film very much to be watched with other people. Immediate family is not good enough. To enjoy this, I recommend you watch it with friends (and immediate family, if you like. :-) ). I recommend this to people who like Disney at least a little bit, people who like fairy tales and for people who like mice. Enjoy! :-)", "label": 1, "domain": "movie_review", "token_count": 379, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0075", "text": "For those of you who are not aware with the theme that Kusturica continues to explore intermittently in his films--the Western assault on traditional Serbian values--it will be impossible for you to understand his narratives. This continuous theme, expressed through fantasy and outrageous comedy as its vehicle, is one that Kusturica has elected to mandate. Since his fantastic work and Magnum Opus 'Underground', Kusturica's films' 'Black Cat White Cat', 'Life is a Miracle', and recently with 'Promise Me This', his slapstick, carnivalistic style underscores the 'westernization' of Balkan culture, its ambivalent arrival and assault on the traditional idiom. In the case of 'Promise Me This', the paradoxical world of city (urban space) and village (traditional idiom) space are contrasted. The world of the city reflects western attributes that have ensconced the spatial and temporal setting; organized crime, sexual exploitation, a ruptured sense of identity and vehement disregard for traditional values--as expressed toward the young kid--villager. The end of the film further exemplifies this notion as we observe a funeral mass and wedding on a one-way dirt road. They are on a collision coarse; appropriately, the wedding, which represents the lifeline and pulse of the village, i.e. traditional values, are about to collide with the funeral mourners, exemplifying the death of tradition within this context. Yet Kusturica brilliantly examines this theme through his own unique, stylistic singularity. With his outrageous and flamboyant style serving as a vehicle in its portrayal.", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0076", "text": "This is the best dub I've ever heard by Disney, as well as the best adaptation since the biggest abuse ever on soundtrack, themes, characters, dialogues in Kiki Delivery Service. Urrrghhh This one has different atmosphere, especially the deviation from the common heroine. This one has both hero and heroine (although I don't really endorse the use of hero & heroine here, since Miyazaki is out from the stereotype & common theme). As usual, after being introduced by Spirited away, amazed by Mononoke, troubled by Grave of Fireflies, and deeply touched by Majo no Takkyuubin , this one start with a bit doubt in my part. Wondering if this will be the first Ghibi's dud. Well, in the end just like Only Yesterday and Whisper of the Heart, I ended up giving 10 rating. I'd give 9.8 rating, but the additional 0.2 is there to share the good feeling by encouraging people to see the movie. SPOILER Somehow I see this as a sad movie, people die in this one, the lonely robot, the abandoned place, and it ends with destruction. It is as if mankind really can't live with too much power. The collapsing scene gave me patches of Metropolis ending. It's just sad somehow. The plot is apparent in most reviews and the soundtrack rules as well (as always). Joe Hisaishi really belongs to Uematsu, Kanno, Williams caliber.People who can brings a movie, a game, an event to life, even to be a lingering moments by astounding composition. This is a feel good movie that used to be part of US cinema in the classic days (It's a Wonderful Life etc etc). Well, things change....", "label": 1, "domain": "movie_review", "token_count": 363, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0077", "text": "\"An album of songs so old everyone thinks they're new.\" This film has the elusive combination of pace and mood that set some films apart from the opening moments. And why not? Towering talent from Dame Judith Dench as a widow who plays saxaphone with a street musician to help him get the songs right, to Olympia Dukakis as the merry widow living in a Scottish castle on the alimony of her many marriages, to Ian Holm as the drummer who loved all the members of a World War II all girl (more or less) swing band. But wait, there's more. Add in Leslie Caron on bass, and the incomparable Clio Laine on lead vocal, at last, and the Blonde Bombshells are the hottest band in England since the Beatles. Well, OK, not really, but this movie is a winner. Elizabeth (Dench) spends the whole film trying to reunite the Blonde Bombshells to play at her granddaughter's school dance. And before you roll your eyes, imagine how difficult and courageous it would be for a bunch of sexegenarian women to step onstage in front of the Britney Spears generation following an act called \"Open Wound.\" In an age when actresses careers are over by the time they're 30, most bands' second album is a greatest hits compilation, and music more than a month old has almost no chance of airplay, it's great to see real talent, real music and a really good movie come from, where else, the BBC. I love this movie, and I know I'll watch it many more times, and enjoy it more each time.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0078", "text": "\"My child, my sister, dream How sweet all things would seem Were we in that kind land to live together, And there love slow and long, There love and die among Those scenes that image you, that sumptuous weather.\" Charles Baudelaire Based on the novel by Elizabeth Von Arnim, \"Enachanted April\" can be described in one sentence – it takes place in the early 1920s when four London women, four strangers decide to rent a castle in Italy for the month of April. It is the correct description but it will not prepare you for the fact that \"Enchanted April\" - an ultimate \"feel good\" movie is perfection of its genre. Lovely and sunny, tender and peaceful, kind and magical, it is like a ray of sun on your face during springtime when you want to close your eyes and smile and stop this moment of serene happiness and cherish it forever. This is the movie that actually affected my life. I watched it during the difficult times when I was lost, unhappy and very lonely, when I had to deal with the sad and tragic events and to come to terms with some unflattering truth about myself. It helped me to regain my optimism and hope that anything could be changed and anything is possible. I had promised to myself then that no matter what, I would pull myself out of misery and self-pity and I would appreciate every minute of life - with its joy and its sadness...I promised myself that I would go to Italy and later that year I did and I was not alone. Charming, enchanting, and heartwarming, \"Enchanted April\" is one of the best movies ever made and my eternal love. This little film is a diamond of highest quality.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0079", "text": "As the first of the TV specials offered on the elaborate box set, \"Barbra Streisand: The Television Specials\", released last November, this disc is being released separately for those who do not want to fork over the dollars for all five specials. As an investment, this is indeed the best of the bunch if only for the fact that this is Streisand at her purest and most eager to impress. That she succeeds so brilliantly is a key component of her legend. Signed to a long-term contract with CBS to produce hour-long variety shows, an almost extinct format nowadays, Streisand was all of 22 in this CBS special first broadcast in April 1965. At that point of her career, her notoriety was limited to a handful of best-selling albums, a few dazzling TV appearances on variety and talk shows, and her successful Broadway run in \"Funny Girl\". Filmed in crisp black-and-white, the program is divided into three distinct parts. With the creative transitional use of \"I'm Late\" from Disney's \"Alice in Wonderland\", the first segment cleverly shows her growing up from childhood through numbers as diverse as \"Make Believe\" and \"I'm Five\". Opening with a comic monologue about Pearl from Istanbul, the second part moves on location to Manhattan's chic Bergdorf Goodman's where she is elegantly costumed in a series of glamorous outfits while singing Depression-era songs like \"I've Got Plenty of Nuthin'\" and \"The Best Things in Life Are Free\" with comic irony. Back to basics, the third segment is a straight-ahead concert which opens with a torchy version of \"When the Sun Comes Out\", includes a \"Funny Girl\" medley, and ends with her classic, melancholic take on \"Happy Days Are Here Again\" over the ending credits. Also included is the brief introduction she taped in 1986 when the special was first released on VHS. For those who know Streisand only for her pricey concert tickets and political fundraising, this is a genuine eye-opener into why she is so revered now.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0080", "text": "When I heard this film was directed by Ang Lee, I made sure to see it. This Taiwanese director burst into fame with \"The Wedding Banquet\" and \"Eat Drink Man Woman\" a few years ago and then moved on to \"Sense and Sensibility\" and \"The Ice Storm\". Now, he turns his attention to another American icon -- the Civil War. This story takes place in Missouri, a Union state with Southern sympathies. These never officially joined the Confederate army. Instead, they formed outlaw bands, called \"bushwhackers\", grew they hair long, and sometimes would confiscated Union uniforms which they wore over their regular clothing. The movie depicts their moral dilemma, the high drama of the times, and their supposedly heroic missions of killing storekeepers and farmers who aided the Union. There are no stars in this movie, unless you consider \"Jewel\" the singer, well cast as a young confederate widow as a star. Tobey Macquire is cast as a young German farm boy who is derided for his heritage because the Germans were supposed Union sympathizers. This young man is an excellent actor, full of fresh faced youth whose performance encompasses his wonder and subtle realizations as he's exposed to the horror of war. Jeffrey Wright is a freed slave who travels with the bushwhackers because of his loyalty to the young man who bought him his freedom. He gives a fine and understated performance. Some of the acting, however, is wooden, especially in the long conversations they have about morality. And their costumes are too new. And the \"southern gentleman\" theme of manners and hat-tipping and politeness to women comes across as a bit much -- especially since they make it a point to murder all the men who they pull from their women's arms, then burn down the stores and houses. While I don't think that this will go down as one of Lee Ang's \"great\" movies, I did find myself fascinated by it, in spite of the slow parts and its excessive length of 140 minutes. I was interested in what was happening next and felt empathy for each of the characters who all came across as real and imperfect human beings caught up in the forces of history. Not as much action as the usual war movie, but yet still recommended -- especially for Civil War buffs.", "label": 1, "domain": "movie_review", "token_count": 469, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0081", "text": "When I was born, this television series was the number one show on T.V.!! America epitomized the feat of the ultimate fatted calf country with big ambitions, limitless potential, and a very comfortable economy!! After a big Sunday dinner, why not sit back and watch \"Bonanza\", IN COLOR!!! This homey western evokes an American tradition which accompanies the complacency of the typical U.S. household during the era in which it was viewed.. The breathtaking cinematography of Lake Tahoe symbolized an infinite prosperity of the emerging American culture!! Western Movies were so popular that Western Television Shows followed suit!! This was a period in time in our country which yearned for a concise reflection on our own country's struggle for survival!! The end result of the trials and tribulations at the Ponderosa Ranch, as demonstrated in this series, sparked a realization that Americans are now auspiciously enjoying the fruits of the Cartwright's painstaking labor!! The T.V. Show \"Bonanza\" was popular for so many different reasons, mostly on account of the fact that the late fifties and early sixties had not yet established the divisiveness of two different cultural mindsets which was ready to surface with our nation! The unification of ideologies in the United States which prevailed during the debut of \"Bonanza\" was a big reason for the show's success!! In the show's later years, \"Bonanza\" had established a firmly entrenched core market television audience!! The cast to \"Bonanza\" became famous, and the wholesome entertainment of \"Bonanza\" encompassed a camaraderie for the All-American idealist!! Everybody liked \"Bonanza\" and a lot of Americans totally loved it!! Reflecting on rough and tumble family values is a favorite past time of many Americans, and the television show \"Bonanza\" was perfect for that frame of mind!! I liked the show a lot, and most people I know like it as well!! Certainly, my entire family loved \"Bonanza\"!! This show was one of the all time American classics in the history of television!!", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0082", "text": "I can honestly say I never expected this movie to be good. I do not like family films. I am far from a fan of Shahid Kapoor. The director's last movie (MPKDH was complete stupidity. And the music was very boring and bland. But there was Amrita Rao, who has become my favorite after Main Hoon Na. There was also Seema Biswas, Alok Nath, and Anupam Kher who are very talented. So a few plus points. I finally saw the movie and I was very impressed. He brings us the young lovers of MPK with a pinch of the HAHK wedding, and we have a winner. The story outline is similar to HAHK, light hearted in the beginning to serious mode at the end. The director also made character that you could relate to. The thing I did not like about HAHK was that the characters were too eccentric. The casting adds to its perfection. Shahid Kapoor surprised me with a good performance. This is a major improvement, and most importantly he suits the role. The best is easily Amrita Rao. In fact, this is her best performance. Her screen presence is so electrifying, you are bound to love her performance. Sameer Soni, Amrutha Prakash, Anupam Kher, Alok Nath and Seema Biswas are terrifically cast. Not one actor feels out of place. The songs were quite disappointing but they will sound better after watching them. Mujhe Haq Hai and Do Anjaane Ajnabi are nice ballads. Milan Abhi Aada Adhura Hai is also nice in watching. The songs aren't colorful and dancey, and they are more like ballads. The exception is Hamari Shaadi Mein which is bound to remind you of HSSH and HAHK. So what was the flaw in the movie? The movie gets quite slow, and the ending is quite stretched. But the movie is still goes at a good pace, making it a perfect family film.", "label": 1, "domain": "movie_review", "token_count": 417, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0083", "text": "This movie is ridiculous! That's exactly what I like about this piece of \"Guilty Pleasure\". It is easy to condemn this movie for not including Pat Priest and Butch Patrick, the original Marilyn and Eddie. But look at the year and do the math. Pat Priest and Butch Patrick had long outgrown their parts! Time does that to young stars. Yvonne De Carlo, who re-prised her role as Lili, was pushing the Big 6-0 (even though she still looked good and was still the perfect \"Lili\"). It's a shame that Yvonne De Carlo wasn't given a larger part. Still, it was good to see Fred Gwynne and Al Lewis in the roles that made them so famous! During the 2 seasons that THE MUNSTERS was on prime time, it was the Gwynne/Lewis chemistry that made the series such a success. The rest of the cast were supporting cast members, not to say that they weren't needed. They were! The TV series wouldn't had survived as long as it did without them. Given the choice between Butch Patrick or Happy Derman (the original \"Eddie\"), the choice was too easy. Yvonne De Carlo was also the better choice over Joan Marshall. Though this movie doesn't measure up to the original TV series, it still measures up nicely and is one of the better \"reunuin\" TV specials that plagued the boob-tube during the late 1970s/early 1980s. '", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0084", "text": "I have to say, from the beginning, when i watched the Stargate movie movie i wasn't blown away or anything it was like an average sci fi movie, with a lot of POTENTIAL, though the movie wasn't as, erm, amazing as other sci fi movies such as Star wars or aliens, which if u are a sci fi fanatic u will admit one of those two titles are amazing, even though i'm not as hardcore sci fi fan as some people, i don't remember one line from either of those movies, i'm not a big fan of wearing star wars T shirts, in fact if you saw me i would look like an average person to you, ah getting slightly off the point here, well my point is that the that you don't have to be a hard core sci fi fan to like this great series, which unfortunately ended after 10 amazing seasons with no drop in its quality as it got nearer to its end, in 2006. though i didn't like the movie much i was quite looking forward to the first season in 1997, and let me tell you, the special effects were only one of the brilliant things about the series, the chemistry between the characters just blew me away the special affects, were as good if not better than most sci fi shows running today. I have to admit that I would never have gone into Sci fi if it wasn't for stargate, and my dad, who actually got me into sci fi when i was like 6, and i'm glad he did, other wise i wouldn't have seen the brilliant shows like SG1, which now in my opinion sets the benchmark for nearly all sci fi series and movies, basically if a new sci fi series isn't better or as good as SG1, its not worth watching. basically this is the best sci fi show to date, and if you don't watch this, then you have no idea what you are missing!", "label": 1, "domain": "movie_review", "token_count": 395, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0085", "text": "I have to be 100% honest with you fellow IMDb users. I wanted to see this movie for a very long time only because of the poster. Doesn't Charlotte Gainsbourg looks extremely sexy and charming smiling that way? I'm in love with that woman! I got what I expected...but only half. This film should deliver expectations for those who enjoy all kinds of romantic comedies or stories involving intelligent humor and light dramatic situations. While I don't agree with another fellow IMDb user who states that the movie is overrated; I must admit that \"Préte-moi ta main\" has plenty of flaws. My main problem with the film is the lack of on screen chemistry between the main characters. There isn't a single scene previous to the climax that shows the main characters sharing a moment \"of romance\" or even a clue to suggest that they're interested in each other. In fact, the only scene were both share a moment is tremendously awkward (when both are in the couch) and does not help the audience understand about a possible love interest. I didn't buy the dinner sequence. Still, the movie delivers very funny moments and has a strong dialogs that support such an ingenuous premise. I mean with ingenuous that it would be very difficult to execute such a farse by a 43 year old man in these days. I understand it's a movie and that's why I accept it as a funny situation. Plus, the humor is versatile. There are moments involving S&M, funny lines with Chabat's best friend, some lesbian references, funny situations involving the family women, and more. Charlotte Gaionsbourg's performance is top notch and she's by far the reason to watch the movie. She's funny, sexy, looks very thin and fine, and demonstrates she's a versatile and talented actress who can pull out a comedic and dramatic performance in sheer brilliance. Alain Chabat is a fine actor and gives a very decent performance. I think the supporting cast do what they can. The score, art direction, and other technical aspects are really good and give a dynamic look to the film. Those who enjoy this kind of cinema should be pleased after the ending credits. It's a good example of feel good cinema.", "label": 1, "domain": "movie_review", "token_count": 456, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0086", "text": "Bill Paxton, of Aliens, Near Dark, and Terminator fame, surprises me with his debut as director for Frailty. He hits on all cylinders, but there is one implausibility near the end that involves the FBI agent (Powers Booth) which deducts a point from this otherwise chilling and thought provoking thriller. Other than that, this movie was just fine. Bill Paxton plays Dad. He's never given a first name, but that is not a weakness of the film. It in fact strengthens the film, allowing the viewer to see him as a sort of symbol of some kind. He has a vision one day which he says was sent from god telling him that the world is coming to an end and both he and his two sons Fenton Meiks(Matt OLeary) and Adam Meiks (Jeremy Sumpter) must fine the demons and kill them. The demons look like normal people which they kill, and this makes the viewer wonder if Dad has just lost his mind, or is he really doing god's work. There are scenes that reflect both points which adds to the confusion and gives the film more suspense. The story is told in flashback by one of the sons who is now grown up (Matthew McConaughey) and is speaking with FBI agent Wesley Doyle (Powers Booth) who is very skeptical and rightfully so. After all it's not everyday that someone comes in to your office to tell you that he knows who the killer is. The film has many twists, and Bill Paxton directs splendidly by keeping us guessing without losing interest. The acting is incredible. The two young leads and Paxton work great together, looking like a normal family even though they are all involved in murder. Like I said there is the one implausibility involving Powers Booth's character, but it really isn't a big thing. This was an extremely well made film involving faith and family.", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0087", "text": "This movie is a riot. I cannot remember the last time I had such a great time at the movies. I've seen a few good comedies in my time and usually they are pretty funny. But this one is wall to wall great lines. I think Best in Show is the last movie that I laughed so hard and so much in. The movie was non-stop until the end when they did the 5 minutes of sentimental plot clean up. Other than that it's a constant barrage of one liners and goofy situations. I'd like to see it again before it leaves the theater because this is like the Zucker movies where you don't get all the jokes the first time around. You have to see it two or three times to get it all in. As far as the actual film goes, it could have used a better edit, it's choppy at times but we have to be forgiving for that. All the characters are great. It's not like an Adam Sandler movie where he tries to be funny and everyone else suffers around him and is the butt of the joke. I think I will remember all the main characters for years to come because they are all so likable. No victims in this movie. Also, thank God they got a 45 year old actress to play his girlfriend. Catherine Keener plays her and she is a sweetheart in this film. You just wish that women like her really existed. She's not a \"10\" like some of the other leading ladies but somehow her smile is warmer than Julia Roberts overdone overbite. If you see the trailer for this film you may not think too highly of it. I assure you, the trailer does not do it justice. They do not give away all the good jokes. Just some of the mediocre ones. Oh and one more thing. I hope critics put this on their top ten list. Many of them complain that comedies don't get the recognition they deserve and then at the end of the year they don't put it on their list. This means you Ebert!!!", "label": 1, "domain": "movie_review", "token_count": 414, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0088", "text": "While a 9 might seem like an unusually high score for such a slight film, however, compared to the hundreds and hundreds of series detective films from the 1930s and 40s, this is among the very best and also compares very favorably to Powell's later \"Thin Man\" films. Now this does NOT mean that the film is that similar to the Thin Man movies, as THE KENNEL MURDER CASE is not a comedy but more a traditional mystery-detective film. Now you'd think that not having Nora Charles or Asta or a traditional comic sidekick (something found in practically all series detective films) along for fun would be a detriment, but I didn't miss them at all because this was such an exceptionally well-written film--having a genuinely interesting case as well as uniformly excellent performances by all. The film begins at the dog show and is called The KENNEL Murder Case, though this Philo Vance film actually spends little of the time at the dog show and dogs are not a super-important part of the film. Instead, a thoroughly hated man is killed and left in a completely sealed room--an idea repeated in quite a few other detective films (such as CRIME DOCTOR'S STRANGEST CASE). However, how all this is explained seems pretty credible and fit together very well--keeping my interest throughout. I sure wish other detective films of the day had as intelligently written plots and exceptional acting as this one. This one is definitely a keeper.", "label": 1, "domain": "movie_review", "token_count": 304, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0089", "text": "Can Scarcely Imagine a Better Movie Than This Hey, before you all go \"Chick Flick\" on me. I am a very Large Strong & Masculine, Macho Man, who happens to think this was one of the better movies of the last 20 years. The acting was Superb and the Story was Marvelous. This is wonderful medicine for the heart and soul. The Acting could not have been better nor the movie better cast. I have known for a Good while that Mercedes Ruehl, along with Holly Hunter, Joan Plowright, Dame Edith Evans, Sissy Spacek, Judi Dench is among the greatest actresses ever to appear on film. And of course Cloris Leachman (also in this film) in my view may in fact exceed them all in the shear magnum of her talent and varied roles she has appeared in over the years.. At any rate this was an Amazing cast. This film was like a book that you cannot lay down, and when you have reached the last page wish for more...still more. I cannot for the life of me understand why this film here on the IMDb only rates a 3.9 That rating here is utterly Amazing to me. Or perhaps not. Perhaps in fact I do understand it ever so well and that is what makes me really sad. It makes me ever so sad that films like \"American Beauty\" \"Leaving Las Vegas\" \"Sexy Beast\" and \"Fight Club\" ratings skyrocket off the charts in popularity when they in fact at least in this viewers opinion should have received an \"R\" rating...R that is for \"Rubbish\". Hey o.k., I realize there are a lot of different stories in this world for a lot of different audiences, but it is a sad commentary when this lovely, powerful...extraordinarily, Directed, Acted, and written film seems to be over looked. It obviously was at the Academy Awards as well....How Sad. And How predictable. My summation is that if you want to see a powerful, Happy, Sad, beautiful story? watch ......preferably own this film...", "label": 1, "domain": "movie_review", "token_count": 433, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0090", "text": "Sure it was well shot and made, very well shot and made! But the story was just so weak. And the portrayal of Lincoln was even weaker. Not that Henry Fonda wasn't good but the character he played was nothing but a loon. Do you mean to tell me that Lincoln was a wise cracking smart ass with no respect of the law or the court. I mean who the hell was he supposed to be? Cousin Vinnie? I mean come on, \"I'll just call you Jackass then\"???? I understand that Ford was going for great funny hero guy but I didn't really like this guy at all. He cheats in sports, talks like a real sweet simpleton and does not seem to know were to sit in a courtroom. How am I supposed to take this seriously. The twist was even weaker. I mean come on! That was just stupid. The whole story seemed like it was thought up by some 5 year old in his or her dreams. Saying that I liked it enough, it was very entertaining and made me laugh at several occasions so I can't say it's a bad film. In fact I must say that I must say it's good enough, nothing that entertains me and makes me laugh can be bad BUT this vivid and silly story was just so ridiculous that I can't understand how anyone could consider it great. I have no idea how historically accurate this film was but if any of it was true I would really have to shake my head.", "label": 1, "domain": "movie_review", "token_count": 303, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0091", "text": "Eddie Murphy plays Chandler Jarrell, a man who devotes his time to finding lost children. When the beautiful Kee Nang {Charlotte Lewis} enters his life, she tells him he is the chosen one and he must find the Golden Child. Sceptical and driven purely by lust and intrigue, Jarrell gets involved without realising he's about to embark on a fantastical journey, one that involves peril and worst of all, the demon Sardo Numspa. Is The Golden Child a product of its time?, by that i mean, was Eddie Murphy and The Golden Child's popularity exclusive to the late 1980s audiences?. For i can remember vividly how much this film entertained folk back in that decade, it's box office was $79,817,937, making it the 8th biggest earner of 1986, but since the 80s faded from memory it has become the in thing to deny Eddie Murphy pictures the comedy accolades that they actually once had. The Golden Child is not up with the more accepted 80s Murphy pictures like Trading Places and Beverly Hills Cop, but upon revisiting the film recently i personally find that it contains Murphy at his wisecracking, quipping and charming best!, seriously!. Cashing in on a fantasy action formula that was reinvigorated and temp-lated by Raiders Of The Lost Ark in 1981, The Golden Child hits all the required genre buttons. Pretty girl, daring reluctant-hero with a quip in his armoury, dashing villain {Charles Dance so English i could kiss him myself}, wonderful colour, and a cute kid with mystical powers, the film only asks you to get involved in the fun, not to dissect and digress its worth as a cranial fantasy picture. Yes the CGI demon looks creaky now, and yes the genre had far better pictures in the 80s, 90s and beyond, but really if you agree with the disgraceful rating of 5 here on this site then you may just be taking this genre a little too serious, seriously. 7/10", "label": 1, "domain": "movie_review", "token_count": 426, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0092", "text": "The thirties horror films that are best remembered are always the likes of Dracula and Frankenstein; and there's a very good reason for that, but there were a number of smaller but nevertheless excellent productions, and The Invisible Ray is certainly one of them. The plot is not particularly original and similar plots have been seen many times before (even way back in 1936) but the way that everything is put together is certainly very imaginative and director Lambert Hillyer has created a very nifty little original horror film. The plot focuses on the good hearted Dr Janos Rukh; a man who has discovered a way to recreate the history of the Earth. His discovery leads him to believe that there may be an unknown radioactive element somewhere in Africa and so he sets off along with a team of esteemed colleagues to find it. However, tragedy strikes while on the expedition and the good doctor ends up becoming exposed to the element; which makes him glow in the dark, and also sends him mad... The biggest draw of the film is undoubtedly the fact that it stars the two biggest horror stars of its day - Boris Karloff and Bela Lugosi, and both give excellent performances. Karloff really shows what a good actor he is and his character has plenty of meat for Karloff to impress with. Bela Lugosi has a role which is extremely different from what we're used to seeing him in, and it's a great performance from him also; it's nice to see a bit of versatility from Lugosi. The film does get off to a rather slow start; but things soon start to pick up. The second half of the film is the best and that's really when the film gets exciting and Karloff gets a chance to shine (literally). The film does not put its focus on big special effects and largely relies on the actions of the central character to keep things interesting; and it does work very well. The film remains interesting throughout and boils down to a very decent climax that wraps everything up nicely. Overall, The Invisible Ray may not be one of the very best horror films of the thirties; but it's a very good one and comes recommended.", "label": 1, "domain": "movie_review", "token_count": 441, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0093", "text": "In his first go as a Hollywood director, Henry Brommell whips an enthralling yarn that is all of penetrating relatable marital issues with melancholic authenticity, and lacing such with an equally absorbing subplot of a father-son hit-man business. The film is directed astutely and consists of a wonderfully put together cast as well as a swift, family-conscious screenplay (also by Brommell) that brings life to an otherwise fatigued genre. As a bonus, 'Panic' delivers subtle, acerbic humor—an unexpected, undeniably charming, and very welcome surprise—through its bumbling, unsure-of-himself, low-key star, whose ever-cool state is enticing, especially given his line of work. The forever-great William H. Macy again captures our hearts as Alex, a unhappy, torn, middle-aged husband and father who finds solace in the most dubious of persons: a young, attractive, equally-messed-up 23-year-old named Sarah (Neve Campbell), whom he meets in the waiting-room at a psychologist's office, where he awaits the therapy of Dr. Josh Parks (John Ritter) to discuss his growing eagerness to quit the family business that his father (Donald Sutherland) built. Alex, whose lust to lead a new life is obstructed by the fear of disappointing his dictating father, strikes an unwise fancy for Sarah, which ultimately leads him to understand the essence and irrefutable responsibility of being a husband to his wife and, more importantly to him, a good father to his six-year-old son, Sammy (played enthusiastically by the endearing David Dorfman). Henry Brommell's brilliant 'Panic' is something of a rarity in Hollywood seldom seen (with the exception of 2002's 'Road to Perdition') since its conception in 2000—it weaves two conflicting genres (organized-crime, family drama) into a fascinating, warm hunk of movie-viewing that is evenly strong in either direction—and it's one that will maintain its exceptional, infrequent caliber and gleaming sincerity for ages to come.", "label": 1, "domain": "movie_review", "token_count": 434, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0094", "text": "\"Show People\" is an absolutely delightful silent directed by King Vidor and starring Marion Davies and Billy Haines. What gems both of them are in this charming comedy about a young girl, Peggy Pepper, whose acting is the talk of Savannah trying to make it on the big screen. Though she's a success in comedy, what she wants to do is make \"art\" so she moves up to High Arts Studio. Soon she becomes Patricia Pepoire and is too good for the likes of her friend Billy. Many stars of the silent era have cameos in \"Show People,\" including Davies herself without the curly hair and makeup. I'm sure when people saw the film in 1928, they recognized everyone who appeared in the elaborate lunch scene; sadly, nowadays, it's not the case, even for film buffs. In one part of the film, however, she does meet Charlie Chaplin; in another, author Elinor Glyn is pointed out to her, and Vidor himself has a cameo at the end of the film. Other stars who pop up in \"Show People\" are John Gilbert, Douglas Fairbanks, William S. Hart, Leatrice Joy, Bess Flowers, Renee Adoree, Rod LaRoque, Aileen Pringle, and many others. Davies was adorable and a lively comedienne. It's a shame William Haines quit the movies - he was cute and energetic, deservedly an enormous star back in the day. \"Show People\" is a simple story told in a witty way. It's also a look back at an exciting era in Hollywood's history and contains performances by two wonderful stars.", "label": 1, "domain": "movie_review", "token_count": 333, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0095", "text": "An old man works as a janitor in a mental hospital to be close to his wife who is a patient there and to try to get her out. This is surely one of the most forgotten masterpieces of the silent era and an oddity in the history of Japanese cinema. Long thought lost, a print was found in the 70s and a music soundtrack added to it, which fits perfectly with the images. It might have been influenced by cabinet of doctor Caligary (director Kinugasa claimed he never saw the German film). However it surpasses it in style and in its more convincing (and chilly) portray of the inner mental state of the inmates in the asylum. To achieve this, the film makes use of every single film technique available at the time: multiple exposures and out of focus subjective point of view, tilted camera angles, fast and slow motion, expressionist lighting and superimpositions among others. It is also a very complicated film to follow, as it has not got intertitles. The film opens with a montage of shots of rain hitting the windows of the hospital, wind shaking trees and of thunder. The unsettling weather metaphors the mental condition of the patients and introduces one of the them: a former dancer. The combination of sounds produced by rain, wind and thunder serves as the music that incites the dancer to get into a frantic, almost hypnotic dance. In another sequence involving the same patient engaged in another frenzied dance, she is being watched by other inmates. Multiple exposures of the dancer represent the patients' point of view and their confused \"view\" of the world. These are just two examples from this amazing film trying to represent the patients' subconscious and view of the \"sane\" world. In three words A MUST SEE.", "label": 1, "domain": "movie_review", "token_count": 359, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0096", "text": "I know that originally, this film was NOT a box office hit, but in light of recent Hollywood releases (most of which have been decidedly formula-ridden, plot less, pointless, \"save-the-blonde-chick-no-matter-what\" drivel), Feast of All Saints, certainly in this sorry context deserves a second opinion. The film--like the book--loses anchoring in some of the historical background, but it depicts a uniquely American dilemma set against the uniquely horrific American institution of human enslavement, and some of its tragic (and funny, and touching) consequences. And worthy of singling out is the youthful Robert Ri'chard, cast as the leading figure, Marcel, whose idealistic enthusiasm is truly universal as he sets out in the beginning of his 'coming of age,' only to be cruelly disappointed at what turns out to become his true education in the ways of the Southern plantation world of Louisiana, at the apex of the antebellum period. When I saw the previews featuring the (dreaded) blond-haired Ri'chard, I expected a buffoon, a fop, a caricature--I was pleasantly surprised. Ossie Davis, Ruby Dee, the late Ben Vereen, Pam Grier, Victoria Rowell and even Jasmine Guy lend vivid imagery and formidable skill as actors in the backdrop tapestry of placage, voodoo, Creole \"aristocracy,\" and Haitian revolt woven into this tale of human passion, hate, love, family, and racial perplexity in a society which is supposedly gone and yet somehow is still with us.", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0097", "text": "Its time to pay tribute to the great Charton Heston after his recent passing but this film is not the one. His other films of a past generation were BEN HUR, THE TEN COMMANDENTS, OMEGA MAN and PLANET OF THE APES were his better works. This film made in 1973 attempts to prophesies a future earth , in 2022, that is so overpopulated that the human race has been manipulated by authorities to eat a universally produced food product called \"Soylent Green\" which is manufactured with Human flesh. This bizarre and implausible film was as ridiculous at the time of its release as it is now and assumes India's population which would be about 2 billion by that stage would be then meat eaters without knowing it. Charlton Heston's character this supers secret international conspiracy that world powers have concocted to meet the nutritional demands of overpopulation by using cannibalism. Unfortunately for the producers of this film the Green message they deliver is not the Greens Party of today's ethos thank god. Cannibalism was practiced by the indigenous populations in New Zealand , Fiji and Borneo up until only 40 years before this film was made but has been long abandoned by human civilization. Another silly prediction in the film is that women become quasi sex slaves turning back the tide of radical feminism which was on the rise in 1972 when this film was made. The film was stupid then and is as silly now but does contain a very unmemorable last film performance by the late and great Edward G. Robinson but still no a valid reason to revisit the film other than for academic reasons. This is a dud of a film and I wouldn't even recommend it to baby boomers or Charlton Heston fans. All the other reviews of this film I have read all sound the same referring to a dystopian society in the future of which the centralised theme only seems to involve the USA in which an ecological disaster has occurred. The only merit in the film is that earth does face overpopulation.", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0098", "text": "After having seen a lot of Greek movies I feel very suspicious against most of them. But after watching this I felt astonished. The movies is great without a big try. You cannot claim that the screenplay is so great or the photography is perfect or something technical. It's a real story and it is happening in Greek rural areas in places forgotten from God. The movie is like a punch in the stomach and I would really wish that things are not like this. It obviously talks about the xenophobia of the Greek people (the ignorance)to anything different. The problem of this guy is not that he is an ex-convicted. The problem is that he is not one of these people. He is different and they do not want them (that's why all the good things he is doing turn boomerang to him). And also speaks about the apathy of the people, because there are some people who are against the hunting of the King, but they do not dare to say their opinion. In the end you can clearly see the hypocrisy of the society being religious and trying to act like God says, but at the same time acting so unfairly to the King. This shows how easily people rationalize their feelings or their beliefs according to the established system. In the end you can have a positive lesson from this very bad story, meaning that you can understand and be part of this society only if you want to become one of them. If you want to remain different and even alone, you are lost (and it is not far from reality) I think it is tragic that the story is real and this should be a bell for everybody. No comment for the main actor because he is already given an award and I believe that his play was great. Small comment for Hatzisavvas (plays the policeman), he is like a dinosaur, he has played a lot of roles and I'm sure that this role for him was very easy but he plays it so great that you cannot deny him a big bravo. I definitely recommend this movie to anybody who wants to see a good Greek movie.", "label": 1, "domain": "movie_review", "token_count": 422, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0099", "text": "This is a classic British comedy-thriller I had always wanted to check out but no opportunity had arisen for that until now. It's based on a popular stage play which had already been filmed a number of times previously (most notably in 1931 by the same director but, unfortunately, this version seems not to have survived in its entirety!); for the remake under review, the plot has been updated to the then-current wartime situation. Anyway, I was mainly familiar with early British comedians through the films of Will Hay: given that this one features a similar plot of legendary hauntings, smuggling and enemy agents, it's very much in that vein (it was actually scripted by Hay's regular writing team of Marriott Edgar, Val Guest and J.O.C. Orton); the stranded travelers element, then, was an equally tried-and-true formula. The star this time around is Arthur Askey (abetted by Richard Murdoch) - none of whose films I had watched before - who is as unlikely a hero as Hay himself and whose personality proves to be just as potentially irritating...but one soon warms up to him, and Askey certainly comes up with a number of witty lines and amusing bits of business throughout to justify the fact that the lead character of the play (and the 1931 film version) was split into two here, with Murdoch acting as the star's straight partner. The remote single setting (the events of the film largely take place during one stormy night) provides for some wonderful atmosphere; the last half-hour - with the sudden appearance of a mysterious couple (Raymond Huntley and Linden Travers) and eventually the arrival of the titular vehicle itself - is especially gripping and well handled. Also worth mentioning from the remaining cast list is Kathleen Harrison as the stereotypical frightened spinster, with a parrot as her constant companion and who is driven by all the excitement to take her very first drink.", "label": 1, "domain": "movie_review", "token_count": 390, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0100", "text": "this is my first review on IMDb, i didn't really want to write one but since there are only 2 for this great movie right now, i feel compelled to add my perspective...and no, i'm not associated to the movie makers in any way (yeah yeah how often did you here that before ;-) ) FYI i'm in my late 20s 1st of all i have to admit i really like animated movies, because what you see is only limited by the imagination of the creators and they were pretty imaginative on this one. Not so much in terms of story but in achieving a very unique and imo fresh visual style. The characters look good but far from real and it works well for the movie, after all it's a fairytale-like world. But the backgrounds and the world in general is filled with awesome visuals that my jaw dropped several times while watching this. The blue, bunny-like mini-dragon steels the show and has easily some of the funniest moments of the movie, he is already an instant classic, much as Scrat from Ice Age. The story is not too surprising (a bunch of anti-heroes have to go out and slay the biggest dragon you can imagine) but who cares if the movie looks and sounds THAT good ;-) 1 thing i have to point out, imo the movie is not suited for VERY young children because it has some darker scenes in it and maybe frightening for kids under 6-8 i would say, these are only very few scenes but worth mentioning imo. Anyway i had a great time watching this and can't wait for it to hit the stores in high def to watch it over and over again just for the sheer beauty of it. 8,5 for me", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0101", "text": "Catscratch is the best thing to come out of Nickeloden, including Wayne Knight. This show doesn't just appeal to Maoris and PI's. some people love it, and they're all aussies. At first glimpse I admit it seems a little crude, but it grows enormously on you. Also, to correct something that one of the other critics has said In_Correct (Tv.com) doesn't say \"Does that mean you're homo now?\" he says \"Does that mean you're homo, owww?\" This is his phrase in the show. Mr. Blik is, i think,the funniest of all like Peww-Weww's Playhouse Firstly, I'll admit that the early episode were a bit good. But after a while the episodes became great! And just when the series had found it's surreal, whacky ...Nickelodeon cancels it! I know Nick is meant for kids, but every once in a while a brilliant show appears that can be enjoyed by teenagers and adults. These shows include Mr. Bean the Animated Series, Charlie Brown, Pelswick, Rocko's Modern Life (at times), and Invader Zim. All of these must have been considered too good, with the exception of CatDog, 'cause Nick felt the need to cancel them. What I like the famous final episode, where Gordon fight a duck. I'd also like to see a DVD, with plenty of audio-commentaries and behind-the-scenes docos, and including the final episode. But of course, what I'd definitely like to see is the show come back on the air. Wake up NICK! I wish there was a list somewhere on the internet with all the gag closing-credits. That would be great.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0102", "text": "This is a classic action flick from the '80s featuring Arnold Schwarzenegger in one of his most memorable roles. Set in a futuristic police state where the government controls everything, including the television networks. One of their most popular TV shows is \"The Running Man\", where convicted felons are hunted down and killed for the entertainment of millions. It's set up like a game show, where the audience votes for their favorite \"stalkers\", trained killers who hunt down and kill the show's unlucky \"contestants\". Audience members also win prizes for correctly predicting who will be killed by whom. And the host is played by none other than Family Feud's Richard Dawson, who's game show experience makes him well suited for this role. When Ben Richards (Arnold) is falsely accused of mass murder, he is forced to play this sadistic game. This movie is chock full of classic Arnold one-liners, such as his famous \"I'll be back\" right before he enters the arena. And he taunts a stalker armed with a flamethrower with \"How about a light?\" I could go on and on, but I don't want to spoil the movie. It's funny stuff! Whether it was intended or not, this movie serves as a great parody of today's \"Reality TV\" craze. Already there are numerous programs that show people enduring pain and humiliation for the entertainment of viewers, and even court cases are televised for their \"entertainment value\". Running Man demonstrates what would happen if reality TV hit rock bottom, and it is a scary picture. One can only hope that the networks have the common sense not to let it go that far. Overall, this is a fun film & I highly recommend it. 9 out of 10!", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0103", "text": "I was deeply moved by this movie in many respects. First of all, I just want to say that Clara Lago was the most precious little thing! Such a pretty little girl. Her acting was superb as well. True to life and very human. Though I don't like the part where she had to smoke; I hope it was only a fake prop. Either way, she was absolutely wonderful and the story was so moving. I found myself immersed in the story and her character. It's quite interesting how I came to discover this movie actually. I was walking in blockbuster and I just happened to notice her pretty smile on the cover as I was walking by. Luckily I glanced in the downward direction that this movie was in! I thought to myself, 'Awe, look at her!' So I picked it up and saw that this movie was described as such wonderful things as \"A Little Gem.\" I read the plot on the back and then thought that, well, maybe I'd look it up on IMDb first and then come back and rent it at a later time. I'm glad I didn't, because I certainly would have been missing out. After searching for a movie with my friend, I knew that I would end up regretting not renting this film, so I went back to the spot in which I originally found it and snapped it up. It had been on my dresser for a week, since school started for me this week and I really hadn't any time to watch it, but tonight was the perfect opportunity. I popped it in and was glued to the beautiful cinematography, delightful score and moving plot from beginning to end. I was so captivated and must say, some parts nearly moved me to tears. I would also like to make a special mention for the young boy in this film, Juan Jose Ballesta. He was remarkable. Also the actor who played Carol's father, who's name is unfortunately not listed on the site. His voice was just so loving and gentle that I could really sense his love for Carol. Even though his appearance is not prominent, I really felt his character's presence. This is truly a wonderful movie. If you are a person who is moved by light, but emotional films, then this is definitely one for you.", "label": 1, "domain": "movie_review", "token_count": 460, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0104", "text": "\"Soylent Green\" is one of the best and most disturbing science fiction movies of the 70's and still very persuasive even by today's standards. Although flawed and a little dated, the apocalyptic touch and the environmental premise (typical for that time) still feel very unsettling and thought-provoking. This film's quality-level surpasses the majority of contemporary SF flicks because of its strong cast and some intense sequences that I personally consider classic. The New York of 2022 is a depressing place to be alive, with over-population, unemployment, an unhealthy climate and the total scarcity of every vital food product. The only form of food available is synthetic and distributed by the Soylent company. Charlton Heston (in a great shape) plays a cop investigating the murder of one of Soylent's most eminent executives and he stumbles upon scandals and dark secrets... The script is a little over-sentimental at times and the climax doesn't really come as a big surprise, still the atmosphere is very tense and uncanny. The riot-sequence is truly grueling and easily one of the most macabre moments in 70's cinema. Edward G. Robinson is ultimately impressive in his last role and there's a great (but too modest) supportive role for Joseph Cotton (\"Baron Blood\", \"The Abominable Dr. Phibes\"). THIS is Science-Fiction in my book: a nightmarish and inevitable fade for humanity! No fancy space-ships with hairy monsters attacking our planet.", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0105", "text": "I hand't seen the restored, or any version for that matter, of \"Baby Face\" with Barbara Stanwyck till I caught it on TCM. What a great movie! In a nutshell Lily lives in a speakeasy, she's been pimped out by her own Father since she was 14! Then his still blows up and he's killed leaving Lily (Stanwyck) alone cept for her black maid Chico, played very nicely by Theresa Harris. Lily leaves for the big city ( New York) deciding to use her sex to get to the top. She does this in great style! She seduces a pudgy clerk to get in on the ground floor and proceeds to go through men like disposable candy! One dumps his fiancée and kills his near father-in-law, also Lily's sugar-daddy, then commits suicide! Lily barely blinks! STanwyck is terrific as a girl who really doesn't know what love is. Then in Paris, she falls for Courtland, played by George Brent, they marry, but when he's in deep financial straights, she bolts. Nearly free with Chico and a half-million, she realizes she loved Court! Lily races to find him, but will she be too late? This is pre-code Hollywood at its best. Stanwyck is tremendous and the look and music in the film are perfect. This reminded me of \"Original Sin\" with Angelina Jolie, another unfairly ignored flick with an amoral woman, those who disliked that films ultra-romantic leanings, will not like Baby FAce any better, those with belief in sex, love and power, will love it. Highly recommended! See it!", "label": 1, "domain": "movie_review", "token_count": 347, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0106", "text": "Out of the first five episodes of Hammer's short-running \"Hammer House of Horror\" series, this fifth episode with the wonderful title \"The House that Bled to Death\" is arguably the creepiest one. As a great fan of the Hammer Studios' Gothic Horror films for many years, I wonder what took me so long to finally start watching the series quite recently. So far, I've only seen the first five episodes, and I have a strong feeling that the best is yet to come, but even if the series stays as entertaining as the first five episodes are, I will be satisfied. Whereas the second and third episodes were great to watch for their morbid and ingeniously dark sense of humor, this fifth entry is definitely the one out of the first five that delivers the most genuine Horror. The episode begins when an elderly man murders his wife out of unknown motivations. Years later, William (Nicholas Ball) and Emma Peters (Rachel Davies) move in the house with their little daughter Sophie (Emma Ridley). Soon after moving in, however, the family have to find out that there is something terribly wrong with the house, which is seemingly haunted... The second episode directed by Francis Megahy is a lot better than his mediocre previous entry, \"Growing Pains\" (Episode 4), and the fairly unknown actors deliver good performances. The film is also well-made in terms of effects, cinematography and score. \"The House that Bled to Death\" is a solid episode that delivers the elements that my fellow Hammer-fans should like to see in a Short Horror tale. The film delivers a creepy atmosphere, genuine scare moments and intelligent twists, and is suspenseful and highly entertaining from the beginning to the end. Overall, this is highly recommendable to Hammer fans.", "label": 1, "domain": "movie_review", "token_count": 359, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0107", "text": "The movie has a great written genre story. It features all of the usual Columbo ingredients; The way Lt. Columbo approaches and bonds to his suspect, the way the mystery unravels for him, Columbo's dog, the cat and mouse play, which is great in this one and luckily as well some good relieving humor, mostly involving the Columbo character. It's all written despite the fact that it doesn't even have a truly original concept. Columbo hunting down a detective/murder novel writer had been done more than once before in a Columbo movie. It's also an extremely well directed movie from James Frawley, who after this directed 5 more Columbo movies, in the '70's and '80's. He provided the movie with style and some truly great and memorable sequences. It's one of the slower moving Columbo movies, despite not having a too long running time. This style and approach doesn't always work out well for a Columbo movie but in this movie it does, which is perhaps not in the least thanks to the acting performances of the movie. Most Columbo movie either starred a big well known star or a star from the early days of film-making, as the movie its murderer. This movie stars the rather unknown 81 year old Ruth Gordon. She didn't starred in an awful lot of movies throughout her career but she is still well known to some, mostly for her role in \"Rosemary's Baby\", which also won her an Oscar. She had a realistic and somewhat unusual style of acting, which some people might not like though. It earned her 4 more Oscar nominations throughout her career, prior to her win for \"Rosemary's Baby\", in 1969. She has some great interaction as well with Peter Falk in their sequences together. The movie also stars a still young G.D. Spradlin. I say young because I only know him from his latest productions out of his career, despite the fact that he already was 57 at the time of this Columbo production. He is still alive but retired from acting, ever since 1999. An even better than usual Columbo movie entry. 8/10", "label": 1, "domain": "movie_review", "token_count": 446, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0108", "text": "When I first saw the Romeo Division last spring my first reaction was BRILLIANT! However, on future viewings I was provided with much more than masterful film-making. This picture has a singular voice that will echo throughout the annuls of film history. The opening montage provides a splendid palette which helmer JP Sarro uses to establish his art on this canvas of entertainment. Sarro truly uses the camera as his paintbrush while he brings us along on a ride that envelops the audience in a tremendous action movie that goes beyond the traditional format we have become accustomed to and dives deeply into dark themes of betrayal, revenge and the importance of companionship. This movie is any director's dream at its very core. However, Sarro was not alone in this epic undertaking. The writing, provided by scribe Tim Sheridan, was just as breathtaking. The dialogue was so precise and direct that it gave the actors such presence and charisma on the screen. Specifically speaking, the final scene (WARNING: SPOILERS!!! SPOILERS!!!) where Vanessa reveals herself to be one of the coalition and a villain all the time, is written in such a dark tone that it is one of the most chilling endings I have ever seen. Sheridan is the next Robert Towne. In a final note it is obvious that this production was no small feat. Therefore much praise must be given to producer Scott Shipley who seems to have the creativity and genius to walk next to Jerry Bruckheimer. Never before have I witnessed a production so grand with so much attention directed at every little detail. A producers job is one of the hardest in any movie and Shipley makes it look easy. All in all this film combines creative writing, stunning production and masterful direction. This is the art of film at its best. When the ending of the film arrives the only thing that is desired is more. The Romeo Division is groundbreaking, a masterpiece and, most importantly, The Romeo Division is indeed art.", "label": 1, "domain": "movie_review", "token_count": 401, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0109", "text": "This movie displays the kind of ensemble work one wishes for in every film. Barbara Bain and Donald Sutherland (who play husband and wife)are positive chilling, discussing the \"family business\" as if it were a grocery store or a dry cleaners. Macy, Campbell, Ullman, and Ritter are also terrific. They play off each other like members of a top-notch theatrical troupe, who realize that a quality product requires each actor to support the others unselfishly. And finally, there's Sammy (David Dorfman). What an amazing performance from a child...and what an uncanny resemblance he has to Ullman, whose son he plays! We're treated to a unique story in \"Panic,\" and that's a rarity in these days of tired formulaic crap. The dialogue is sharp and smart, and this relatively short film nevertheless has the power to elicit a full range of emotions from the viewer. There are places to laugh, to be shocked, to be horrified, to be saddened, to be aroused, to be angry, and to love. It's not a movie that leaves you jumping for joy, but when it's over you're more than satisfied knowing you've spent the last ninety minutes experiencing a darn good piece of work. More of us would go to theatres if we were treated to quality fare like this. When are the powers that be in Hollywood going to wake up? It's a real shame when something this good fails to get exposure beyond festivals and households fortunate enough to have cable.", "label": 1, "domain": "movie_review", "token_count": 311, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0110", "text": "Daniel Day-Lewis is the most versatile actor alive. English aristocratic snob in A Room With a View, passionate Irish thief in In the Name of the Father, an impudent, violent butcher in Gangs of New York (in a performance ten times stronger than Adrian Brody's in the Pianist) and as the outrageous Cristy Brown with cerebral palsy in My Left Foot (just to name a few). His roles all influence eachother, but each is seperate, and utterly unique. He changes completely, with each character he takes on. And I'm beginning to believe that he can act as anything. Anything. As Cristy Brown he is stunning. He does not ridicule the character, and he does not pity the character. A difficult achievement. And Cristy Brown comes to life. A smart man. An outrageous man. Human. This movie, despite small scene-transition faults and the like, is an inspiration. Yes, it's predictable. But is it stupidly sentimental? No. I laughed. I cried. Not a single moment of cheese. Proof that this isn't a Hollywood movie. My favourite scene is the scene in the restaurant, when Cristy is discussing painters with Eileen, Peter and her friends. Here's where Daniel Day-Lewis reaches an acting climax. \"I'll kick you in the only part of your anatomy that's animated.\" \"Wheel out the cripple!\" And his performance never slows down, never falters, and is beautiful. Simply. He has a lot of screen time here. I watch it again again, and I never get tired of Cristy's perspicacious eyes, twitching and guttural speeches. A must-see. Fo sho, yo!", "label": 1, "domain": "movie_review", "token_count": 351, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0111", "text": "Three teenage girls in an incomplete triangular relation. The base of the triangle is barely there. At the apex is Marie, a serious, short and lean tomboy with a Belmondo-like facial structure. Her best friend is the physical and psychological opposite: coquette, chubby -- I dare say fat -- and desirous for her first kiss with a boy but not quite ready for her first sexual encounter. Because of her chubbiness, boys don't seem interested and it pains her. The other leg of the apex is a beautiful \"fille fatale\" blonde vamp. She is deeply involved in the sport of synchronized swimming performing at competitive level. Marie sees her during a competition at the local public swimming pool. Marie insinuates herself into the life of the vamp using the desire to become a synchronized swimmer as an argument. The vamp has a reputation of being a whore, making out with any young male that orbits around her. Marie is not phased out by that reputation. Put a stress on reputation. The first half is set up. We get to see a lot of synchronized swimming as we become familiar with the three girls. Eventually the narrative leaves synchronized swimming behind and concentrates on the topsy-turvy relations among the three. That's when unexpected things start to happen. It is a trademark of French films to drop nuggets of wisdom on the viewer. This one is no exception. Here it is about ceilings and the dying. See the film to learn more. The director says that the use of synchronized swimming is purposeful. That women-only sport is a metaphor for a girl's life: pretty and feminine on the surface while hard working and competitive underneath. A number of scenes drive this point: elegant moves and smiles for the public, legs kicking ungainly underwater. The title in French is also suggestive: \"prieuve\", or octopus, suggest an individual having to juggle many pressures simultaneously.", "label": 1, "domain": "movie_review", "token_count": 390, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0112", "text": "I'm a fan of both actors/singers especially Gackt and when I first discover this movie and watch the trailer,I just think this is a silly one.After a long waiting time,I watched it at last and here's my comment... I consider everyone knows the storyline and not going to mention about it,instead of it my first applause goes to acting,generally that Japanese movies hasn't got brilliant and acting.Yet in MoonChild's all cast is simply wonderful and got into it,especially Gackt reflects his characters emotions and changes pretty well,I like many of his scenes both dramatic and humorous ones,as for HYDE part,his acting is good but he deliberately staying in background as an actor,respectively as his character do,throughout the movie.I didn't like some cinematography especially lighting and some colors but due to small budget,it still has brilliant moments,but the real jewel of the film is story.It has some cheesy moments but it's OK for me,and the friendship theme of the movie is really well developed and touching at sometimes,on the other hand story points out a cruel world which no ones life guaranteed and with some memorable death scenes it reflects this theme to the visuals.An interesting note aside,this movie has some similarities with excellent vampire movie Interwiew with the Vampire which is also played by the most beautiful(not handsome,beautiful)actors of American cinema,actually Moon Child is somehow can be seen as brother with Interwiew,yet original on it's own.Only problem that MoonChild is it's a bit slow sometimes,I'm a Japanese movie fan and I used to that but it's not change MoonChild has some useless scenes or characters.But all in all;this movie is really good and very emotional sometimes,as for actors/singers duo I hope to see their other movies in future,and I recommend this to everyone who likes vampire-action-sci-fiction and romance films 8/10", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0113", "text": "Taking over roles that Jack Albertson and Sam Levene played on Broadway, Walter Matthau and George Burns play a couple of old time vaudeville comics, a team in the tradition of Joe Smith and Charles Dale who seem to have a differing outlook on life. Walter Matthau can't stop working, the man has never learned to relax, take some time and smell the roses. He's a crotchety old cuss whose best days are behind him and his nephew and agent Richard Benjamin is finding less and less work for him. What hurt him badly was that some 15 years earlier his partner George Burns decided to retire and spend some time with his family. A workaholic like Matthau can't comprehend it and take Burns's decision personally. Benjamin hits on a brain storm, reunite the guys and do it on a national television special. What happens here is pretty hilarious. The Sunshine Boys is also a sad, bittersweet story as well about old age. Matthau is on screen for most of the film, but it's Burns who got the kudos in the form of an Oscar at the ripe old age of 79. Burns brought a bit of the personal into this film as well. As we all know he was the straight man of the wonderful comedy team of Burns&Allen who the Monty Python troop borrowed a lot from. In 1958 due to health reasons, Gracie Allen retired and George kept going right up to the age of 100. Or at least pretty close to as an active performer. The Sunshine Boys is based on the team of Smith&Dale however and if you like The Sunshine Boys I strongly recommend you see Two Tickets to Broadway for a look at a pair of guys who were entertaining the American public at the turn of the last century. The doctor sketch that Matthau and Burns do is directly from their material. And I do think you will like The Sunshine Boys.", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0114", "text": "Forget Neo and Bourne and all those half-baked made up modern heroes. They only look 12 year-oldish to please the wide audience of geeks that want to be their heroes. Since they cannot be Rambo or McClane or even Indiana Jones, Hollywood allowed a bunch of fakes that have no beard and yet fulfill teenagers wishes to see something that looks very much like an action flick. However, their \" action set-pieces \" are just painful to watch and any girl may challenge their masculinity without question. This explains the recrudescence of oldies on our silver screens over the past few years. For better ( Rocky, Rambo ) or worse ( Die Hard 4 - where John McClane, brace yourselves.... had no beard !! ) I say it is high-time a new hero walked up and put their reign to an end. This \" Largo Winch \" movie is far from perfect, and perhaps too predictable at times, but at least Tomer Sisley delivered a very promising performance as an action-hero. And the only one time where he was weakened is when Mélanie Thierry shaved his beard ! I rest my case. I didn't know it when I entered the theater room, but this might be the movie I've been waiting for a decade. For the first time in France since Belmondo, can a movie be both well- crafted and rooted in B-genre without blushing over its performance. In the meantime all we had to chew on was either a gigantic pile of dung or something too restricted to reach a wider audience... In other words it was \" Le Pacte des Loups \" or \" Dobermann \" ( I like Dobermann, mind you )... I believe \" Largo Winch \" has what it takes to be both popular and quality film-making. I exited the theater room very pleased, and hungry for more.", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0115", "text": "Here is a favorite Tom & Jerry cartoon perfect for Halloween. I know it dosen't have much creepiness, but has the 'trick' as in \"Trick or Treat,\" as Jerry did to Tom with the window blind and the vacuum-cleaner with a collared-shirt hanging on it to make it like a ghost; but still like to put it on my list of Halloween cartoons. In this short, Tom was listening to the \"Witching Hour,\" a ghost-story program on the radio, and being frightened by the horror story being told. Halfway into the story, the dramatics (hair standing on end, heart leaping into throat, icy chills on spine) begin happening to Tom . . . literally. And Jerry has been observing the whole thing and laughing to himself, thought he highen Tom fears by scaring him. I love the ending, it was a little funny. And you know, This short is the first of four cartoons in which Tom attacks Mammy Two Shoes; the others being The Lonesome Mouse, A Mouse in the House and Nit-Witty Kitty. And also This short is the first of twenty-five cartoons where Tom speaks. The others are The Lonesome Mouse, The Zoot Cat, The Million Dollar Cat, The Bodyguard, Mouse Trouble, The Mouse Comes to Dinner, Quiet Please!, Trap Happy, Solid Serenade, Mouse Cleaning, Texas Tom, Mucho Mouse, and The Cat Above and the Mouse Below directed by Chuck Jones.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0116", "text": "This 1981 comedy still sparkles thanks to the combined efforts of writer/director Steve Gordon and stars Dudley Moore and John Gielgud. Sadly, Gordon, only in his early forties, died soon after completing this, his only feature film. It's an especially unfortunate loss since he shows a truly deft hand at character-driven farce that makes the whole film irresistible. It plays almost like a 1930's-style screwball comedy revamped for contemporary tastes. The plot centers on Arthur Bach, a drunken, diminutive millionaire playboy who is at risk of losing his $750 million inheritance if he doesn't marry the dowdy and boring Susan Johnson, an heiress handpicked by his old-money father and dotty grandmother. Of course, he doesn't love her and by chance, runs into Linda Marolla, a working-class waitress (and of course, aspiring actress) after she pilfers a Bergdorf Goodman tie for her father. The standard complications ensue but in a most endearing way with loads of alcohol-fueled slapstick executed with classic élan by Moore. That he makes such a spoiled character likable is a credit not only to his comic talents but to Gielgud's feisty, acidic turn as Hobson, Arthur's devoted but reality-grounded valet. It's the type of role he could play in his sleep, but Gielgud makes Hobson such a truly memorable character that his fate in the film brings a welcome injection of poignancy in the proceedings. In probably her most likable film role, Liza Minnelli hands the picture to her male co-stars by toning down her usual razzle-dazzle personality and making Linda quite genuine in motivation. A pre-\"LA Law\" Jill Eikenberry plays Susan just at the right passive-aggressive note, while Barney Martin (Jerry's dad on \"Seinfeld\") steals all his scenes as Linda's slovenly father Ralph. The one fly in the ointment is veteran actress Geraldine Fitzgerald, who overdoes the eccentricities of the grandmother. And I have to admit that I still can't stand the very dated, overplayed Christopher Cross song that inevitably won the Oscar for that year's best song. Unfortunately, the 1997 DVD, certainly in need of remastering, has no extras worth noting except some photos and production notes.", "label": 1, "domain": "movie_review", "token_count": 484, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0117", "text": "\"The Bourne Ultimatum\" begins recklessly mid-chase and in pulse-pounding fashion explodes from there as Jason Bourne (Matt Damon, absolutely superb) tracks down the masterminds behind the CIA black-ops that turned him into the perfect killer in a final attempt to learn his true identity. A devastatingly icy David Strathairn as the \"man behind the curtain\" is added to the returning cast of regulars including Joan Allen (excellent) and Julia Stiles (non-existent). Like the second entry in the series, I wished Paul Greengrass' shaky hand-held camera would go static at least for the few minutes of downtime. However, that being said, it's a perfect way to capture the tense, claustrophobic feel of the intimate hand-to-hand-combat scenes and works equally well in the chase scenes which are mostly on foot and across rooftops with the occasional big car pile-up. Part of the fun of the Bourne series is the constant globe-hopping and manipulation of technology and communications that seem to defy the laws of physics and current capabilities. The Bourne films seem to exist in some sort of gritty hyper-reality that is full of technological-based magic. It makes no sense that everyone seems to be just in the right place at the right time, but I'll be damned if it isn't a blast to watch them get there. With the absence of the emotive and involving Franka Potente, the writers attempt to create some emotional connection between Damon and Stiles, but she is so blank-faced an actress it never really leads to anything. Still, this can be forgiven, for unlike the \"Identity\" and the \"Supremacy\", this \"Ultimatum\" reveals all and we finally learn the truth about Bourne's past. It's an entertaining and satisfying conclusion to the series, and if they have any good sense, and Damon gets his wish, this will be the perfect end to it.", "label": 1, "domain": "movie_review", "token_count": 399, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0118", "text": "In the early to mid 1970's, Clifford Irving proposed to write the ultimate biography of Howard Hughes,claiming to have spent months preparing for the book,engaged in interviews with the reclusive millionaire. When all of this turned out to be false,Irving was accused of perjury & spent several years behind bars (although always admitting his findings were accurate). Flash forward to 20001,several months prior to September 11th, a book,entitled 'Forbidden Love' (published in the U.S. as 'Honor Lost:Love And Death In Modern Day Jordan') by a previously unknown author by the name of Norma Khouri,a woman from Jordan,who reported on the death by mercy killing of her best friend Dalia,due to the fact that Dalia,being from a devout Muslim background,was dating a Christian man. It,like Irving's biography on Hughes was revealed as a potential hoax. Australian film maker,Anna Broinowski attempts to delve into the quagmire that was Khouri's attempts to clear herself of the lie(s). Over the time frame of 104 minutes,the film attempts to reveal is Norma Khouri telling the truth,or is she just a compulsive liar,with an agenda/vendetta of her own?. Interview footage with those who know/knew her (including an ex husband,her publisher,and others) tell their side of the story. This is a toothsome,well produced documentary that manages to point many fingers at just as many potential guilty parties. Not rated,but contains pervasive bad language & a re-enactment of the grisly murder scene,played over a few times (but nothing nearly as graphic & disturbing as what one would see in the latest torture porn epic,such as Saw:Part 84). Not a good choice for the little ones.", "label": 1, "domain": "movie_review", "token_count": 375, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0119", "text": "In Northeastern of Brazil, the father of the twelve years old illiterate Maria (Fernanda Carvalho) sells his daughter to the middle man of a prostitution organization, Tadeu (Chico Dias), to be employed as a housemaid and have a better life. However, the girl is resold to the farmer Lourenço (Otávio Augusto) that deflowers her, and he gives the abused girl to his teenager son to have his first sexual experience. Then she is sent to a brothel in a gold field in Amazonas and explored his owner, the despicable Saraiva (Antonio Calloni). When Maria escapes to Rio de Janeiro expecting a better life, she is explored by the cáften Vera (Darlene Glória). \"Anjos do Sol\" exposes the sad and shameful reality of child prostitution in Brazil through the fate of the girl Maria. Last year I saw \"Lilja 4-ever\" that tells an identical story in the former Soviet Union; therefore this problem does exist in Third World countries. Director and writer Rudi Lagemann presents a great movie exposing the reality but never showing nudity or explicit sexual scenes. It is the debut of the promising Fernanda Carvalho, who has an excellent performance in the role of a scared child fighting for survival. Most of the prostitutes are amateurs, and it is impossible to recognize the famous Darlene Glória so different she is after many plastic surgeries. The bitter and hopeless end of the story is also very realistic. My vote is ten. Title (Brazil): \"Anjos do Sol\" (\"Angels of the Sun\")", "label": 1, "domain": "movie_review", "token_count": 331, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0120", "text": "As a fan of Paris Je'Taime, I went to see New York, I Love You with very high expectations. I gladly walked out with all my expectations met. It was funny, sweet, fast-paced, and entertaining. The film starts out with two cab hoppers (Bradley Cooper & Justin Bartha) trying to get to the same area but arguing which way to go. That was funny, and then the film goes into some of the best skits I have ever seen anywhere. There were four amazing ones out of all the good ones. Those four I will start talking about. One features Shia LaBeouf as a bellhop at a hotel who finds love in an old lady. The next one features Orlando Bloom as a music maker who is doing business with a woman played by Christina Ricci. Another one features Anton Yelchin and Olivia Thirbly as two people going to prom, Thirbly's character being handicapped. The best one features Eli Wallach and Cloris Leachman as a bickering old couple. I will bring to your attention that Nataile Portman makes an impressive directorial debut directing, and writing a skit about a caretaker, and Ethan Hawke and Maggie Q are excellent as a flirting man and a hooker. New York, I Love You is definitely as good, if not better than the 2006 Paris Je'Taime. The skits are well-paced, and the film shows how indie films should really be. The film, however, does not have as many famous directors as Paris Je'Taime, which is why it was fantastic to live up to its excellence. If you want to laugh, see some great dramatic effects, see an amazing amount of great performances, and just plain be entertained then definitely go see New York, I Love You.", "label": 1, "domain": "movie_review", "token_count": 376, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0121", "text": "\"Imagine if you could bring things back to life with just one touch\" As soon as I first heard that, my attention was locked on the Trailer, And after the First Episode I found my self in love with this show. A Modern day Fairy Tale that Brings my Spirits up and Holds my attention throughout the entire show. I think the Acting and Casting is just perfect, Each Character brings Something Unique to the show that adds to it's perfection. Even the one time Villains manage to overflow with A Unique sense, From the Bee Man to the Guy who can Swallow Kittens, they never seem to let me down. And the Deaths that would Normally lead to a Depressing Moment often end up being Purely Comical (Such as an Exploding Scratch & Sniff book) Even with the large amount of Crime shows we have now a days, Daisies is one of the few that really stands out from the rest, Being not just a Mystery but a love story, Comedy and a Fairy Tale with a hint of Drama all baked into one Wonderful pie.....err show. What really shocked me was the fact that it was on ABC, For Years I never had a reason to turn to ABC, But this brought me back each week with a Smile on my face. It was as if Pushing Daisies Brought ABC back to life for me. But just like that, after two seasons, A few Awards, A Large Fan Base and Positive Responses from Critics the show has been dropped. It seems as though Ned has Touched ABC again and forever killed it for me. I will always be a fan of this show though, And I Recommend this to anyone who likes a lot of talking and a lot of love from the shows they watch.", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0122", "text": "So I flipped on the digital subscriber channels one night a couple of years ago and thought I'd pass a half hour watching \"Girlfight\" while waiting for \"Hart's War\" to start. With a title like that I figured it was some exploitation 'B' flic about inner city girl gangs. Much to my surprise it wasn't about that at all. Instead it is a well acted, well scripted story about a young woman who almost accidentally gets into female boxing. She is responsible for taking her younger brother to his practice sessions and get interested while observing his bouts. As he doesn't really want to be a boxer (only following through on their father's wishes) she convinces his coach to take her on in his stead. The story unfolds in an intelligent and believable way as she goes through various trials on her quest. For starters, her brother's coach doesn't want to take on a female boxer. After grudgingly doing so there is the problem of lining up matches for her. Then the confrontation with her father when he finds out what is going on. Yes, a love interest develops but it serves to enhance the plot, coming across more of an interesting inter-human reaction with its own fight related consequences. All in all this is a great little sleeper movie that few seem to have heard of. Some time later when I saw the much advertised and acclaimed \"Million Dollar Baby\" I thought \"wait a minute, this seems kind of familiar\". Needless to say, I didn't watch \"Hart's War\" that night.", "label": 1, "domain": "movie_review", "token_count": 312, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0123", "text": "Say what you will about schmaltz. One beauty of this film is that it is not pro-American. It is a morality about some Americans being called to high purpose and how they rose to the occasion. It is inspiring because it is about people of noble purpose. To me, the most interesting part of the film is the education of Fanny and David Farrelly (Bette Davis' mother and brother). As Fanny says, \"We've been shaken out of the magnolias.\" In today's political climate where, led by a president who shamelessly lied to us and used 9/11 to bring out the absolute worst characteristics of human beings, we sunk to the level of the 9/11 murderers to seek blood-thirsty vengeance. It can't all be blamed on Mr. Bush - after all, we allowed him to lead us in that direction and even re-elected him after his lies had been exposed. Now, with complete justification, we Americans are reviled throughout the world. Today, we watch this film with a new awareness: That the rise to power of Nazis in Germany was not due to a flaw in the German character, but, a flaw in human beings that allows us to rationalize anything that will justify our committing immoral and heinous acts. I'm not comparing George Bush to Adolph Hitler. But, I am pointing out how a leader can whip us up into a frenzy of terror, hatred, and hyper-nationalism to do despicable things. Sadly, the blackmailer, who will do whatever needs to be done for his own agrandizement, no matter how immoral, is most like the leaders of our country, those who support them, and those who have buried their heads so deep in the sand, that they can't even be bothered to vote. A film like Watch on the Rhine reminds us of what we once aspired to be - a force for the betterment of humanity - and that we have it in us to once again aspire to lofty goals. Geoff", "label": 1, "domain": "movie_review", "token_count": 412, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0124", "text": "This is a great movie. It has a captivating story, an awesome main character, very good acting and killer action. This takes place mostly in the year 2036 but shows scenes that take place in past years to explain the story. The story is very well done and there are no holes. Kurt Russell is a solider named Todd who is trained from birth to kill and like all of the other soldiers have never had normal lives. Eventually the military introduces newer, younger, faster and stronger soldiers. Jason Scott Lee being one of them. As a result they don't have any need for the old soldiers like Todd. They test out the new soldiers by having them fight some of the old soldiers, in the battle Russell is injured and assumed to be dead. The military dumps his body as well as a fewer others assuming they are all dead but what they don't realize is that Russell is alive. Todd finds a camp filled with civilization on this planet that the military dumped him on. For a while he lives there but can't adjust to normal life. He rarely says a word and he is at times very aggressive towards the other people. When they feel he is a danger to them they send him off to the desert. Just as Russell's leaving the planet is attacked by the new soldiers. What the military forgot was to train the soldiers to be smart like Todd and the other old soldiers. So while these new soldiers are faster and stronger than Todd, Todd easily outsmarts them. The military starts realizing this and Todd kills all of their men but one. That one is Jason Scott Lee and in the end you see a classic fight scene between Russell and Scott Lee. Russell obviously comes out on top. This is one of the best action films I've ever seen and I've seen a lot. This has everything you could ask for in a film including some great lines. The writer also didn't forget that Russell had never seen a woman before as he calls even women \"sir\". There are no holes in this film, every minute has a purpose and it's very entertaining. An awesome one man army action film for fans of Rambo, Commando and Missing In Action. This is highly recommended for all Kurt Russell fans and action/sci-fi fans.", "label": 1, "domain": "movie_review", "token_count": 455, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0125", "text": "ANTWONE FISHER is the story of a young emotionally troubled U.S. Navy seaman. His problems lead him to Jerome Davenport, a psychiatrist who helps him realize that his troubles stem from his childhood upbringing. Get ready to shed a tear or two. The movie could thaw the coldest heart. I loved the story, which turns from something so very awful to happen to anyone into a positive ending. ANTWONE FISHER is a powerful movie, most importantly about forgiveness. Other important issues that get you thinking are child abuse, adoption, and foster care. Oscar winner, Denzel Washington does an impressive job in his directorial debut. There were many scenes which I enjoyed watching. They included the beginning (dreams of a little boy – check out the gigantic-sized pancakes!) and the ending (dreams turned into reality), which beautifully tied the story together. Another wonderful scene occurred when the doctor encouraged Antwone to search for his family to find answers to his questions about his family that abandoned him. My favorite scene happened when the young man finally confronted his mother and her reaction towards him. Priceless. All the actors represented their parts well. In addition to directorial responsibilities, Mr. Washington continues to show why he won an Oscar award and is successful in all his acting roles. He had a strong presence in this movie. Actor, Derek Luke demonstrated why he was so right for the part of Antwone Fisher. He portrayed very real and heart-tugging work. Joy Bryant who played the part of Cheryl, Antwone's love interest, resembled a ray of sunshine on the screen. The chemistry flowed well between the romantic characters. Novella Nelson who played the part of Mrs. Tate, a despicable character, deserves special mention. Although we only see her for a few minutes, the actress who played Fisher's mother gave an outstanding performance. Everyone should see ANTWONE FISHER.", "label": 1, "domain": "movie_review", "token_count": 390, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0126", "text": "One the whole, this movie isn't perfect. It doesn't 'hang well' together as the story line is basically a bunch of hooks to hang jokes. Some of these jokes are a little 'too 80s' and tend to date the picture. But some of these jokes are classic. You know a movie has something special when you and your friends still reference silly quotes from it over 2 decades later. Plus, there are a bunch of familiar faces; Michael Keaton, Danny Devito, Joe Piscapo, Peter Boyle, Marilu Henner, Maureen Stapleton, Bob Eubanks, Griffin Dunne, and one of the last roles of Alan Hale Jr., the Skipper from Gilligan's Island. Also, there are some great absurdist moments, like when Johnny is labelling the puppies with a pricing gun, or the Pope making an appearance in Johnny's neighborhood. Also, the scene where the fake priest makes up a lot of words in Latin is excellent. (\"Summa cum laude, magna cum laude, the radio's too louda... Post meridian, ante meridian, uncle meridian\"). Other Classic Scenes include Ramone Maroney butchering the English language Danny Devito urging Griffin Dunne to 'Play Ball' Peter Boyle thinking he lost his manhood The fake VD movie This movie is no home run. But like 'Porky's', it has enough classic comedy bits to make it memorable.", "label": 1, "domain": "movie_review", "token_count": 300, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0127", "text": "In it's time, this movie had controversy written all over it (like most of Verhoeven's projects). Containing very graphic depictions death-scenes; A parachute that doesn't open *smack* guys body on the floor. A guy being eaten by a Lion *chomp* teeth in the throat. And a guy being run over by a speedboat *zoom* bloody corpse going down. But besides gore, this flick also contains some brilliant (and stunningly beautiful) scenes, filmed in the gray fisher's town that is Vlissingen; Thousands of rosebuds flying over the screen, in a somewhat irrelevant part of the movie, a beautiful (holy) woman putting flowers in a milk-can, surrounded by slabs of blood-dripping meat and a steamy love scene between two male characters, in a graveyard. The story is concluded in a frantic, but fulfilling 10 minutes, that don't disappoint, and will leave you sighing a breath of relief. Of course with the pros come the cons, Some special-effects are too over-the-top, and are obviously done to see how far Verhoeven could push the gore-factor (e.g. the several eyeballs hanging out of their sockets). Also, while the two lead actors, (Jeroen Krabbé and Renée Soutendijk), do an excellent job of breathing life into their characters, the character of Herman (portrayed by the rather un-charming Thom Hoffman) just feels enormously underdeveloped, making him hard to care for, even after his tragic death. I've done my best to give you a slight idea of what to expect of this amazing movie, and as you can see, it's not easily summed up in words. So do yourself a favor, if you happen to find this movie somewhere, watch it ! And enjoy the unique style and substance of this masterpiece.", "label": 1, "domain": "movie_review", "token_count": 386, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0128", "text": "Before this little black-and-whiter, the touchy topic of criminal rape never made it onto the American screen.There were lots of these topics that Hollywood and the Production Code kept hidden until the rebellious 1960's. So it's not surprising that it would take a little independent company like Ida Lupino's Filmmakers to raise the subject. The result is well-meaning but somewhat compromised, which is not surprising since director Lupino had to work with Code demands to get the movie released. Interestingly, Ann Walton's (Mala Powers) main problem following the assault is not how others might see her, but how she sees herself. And it's a heavy load she's carrying. Will she ever be able to relate to men again? Will they look at her as \"spoiled goods\" (after all, this is 1950)? Small wonder she runs away rather than face these anxieties at home and at work, even though family and friends are generally supportive. Overall, this first part is earnest and well-done. The chase is hyped to inject some action into the plot, but then this is a movie-- notice how the incurious neighbor fails to respond to the honking horn near chase's end. Had those been screams of alarm from Powers instead, the neighbor's lack of response would have raised an interesting albeit complicating issue. The second half is pretty much given over to the Production Code in the sentimentalized person of Rev. Ferguson (Tod Andrews). It's he (to quote a phrase) who \"gives her courage to face life again\". There's some effort at humanizing him-- is it Ann or her dilemma that he's most interested in. Still, his gentle and understanding presence comes across as a little too miraculous and a little too Hollywood. Fortunately, the ending avoids the usual Hollywood cop-out by emphasizing only the hope of a happy resolution for Ann rather than its certainty. Give Lupino a ton of credit for dealing with the topic in the first place. Given the overall results, I expect she dealt as honestly with the topic as she was allowed to. I also expect today's audiences find the treatment mildly interesting mainly because of Powers' excellent performance that brings out the purely human drama. However, the film works best now as a document of its time, and what the cultural watchdogs of that day thought was appropriate for adult viewing.", "label": 1, "domain": "movie_review", "token_count": 482, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0129", "text": "As it is generally known,anthology films don't fare very well with American audiences (I guess they prefer one standard plot line). New York,I Love You, is the second phase of a series of anthology films dealing with cities & the people who live & love in them. The first was 'Paris,J'Taime', which I really enjoyed. The film was made up of several segments,each written and/or directed by a different director (most of which were French,but there is a very funny segment directed by Joel & Ethan Coen). Like 'Paris', this one is also an anthology, directed by several different directors (Fatih Akin,Mira Nair,Natalie Portman,Shakher Kapur,etc.),and also like 'Paris'deals with New Yorkers,and why they love the city they live in. It features a top notch cast,featuring the likes of Natalie Portman,Shia LaBeouf,Christina Ricci,Orlando Bloom,Ethan Hawki,and also features such seasoned veterans as James Caan,Cloris Leachman,Eli Wallach and Julie Christie. Some of the stories really fly,and others don't (although I suppose it will depend on individual tastes---I won't ruin it for anybody else by revealing which ones worked for me & which ones didn't). Word is that the next entry in the series will be Shanghai, China (is Rome,Italy,Berlin,Germany or Athens,Greece out of the question?). Spoken mainly in English,but does have bits of Yiddish & Russian with English subtitles. Rated 'R'by the MPAA for strong language & sexual content", "label": 1, "domain": "movie_review", "token_count": 337, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0130", "text": "A fey story of a Martian attempt to colonize Earth. (Things must be pretty bad back on Mars.) Two state troopers investigate the scene of a reported UFO crash. Whatever landed is buried under the ice at Tracy's Pond but there are footsteps in the snow leading to a nearby diner. The diner has had no customers since eleven o'clock that morning. Now there are a handful of bus passengers sitting around waiting for permission to cross a structurally weak bridge. The bus driver insists that six passengers were aboard the bus, although he didn't notice who they were. The problem is that there are now SEVEN people waiting for the journey to be resumed. One of them is an alien, but which one? All of them are suspect. There's the crazy old man (Jack Elam), of course, who seems to exercise a sub rosa wit. There's a blustering businessman who must get to Boston (John Hoyt). A young couple on their honeymoon. (Execrable performance by the husband, Ron Kipling.) Except for the couples, nobody has noticed anyone else. And even the couples are suspicious of each other. Bride to newly minted husband: \"I could have sworn you had a mole on your chin.\" The story continues in a sprightly but slightly spooky way -- the phone rings for no reason, the lights go on and off, the juke box turns itself on -- and none of it is to be taken seriously. It's a thoroughly enjoyable ensemble play and the climactic revelation is worth a chuckle. There is no discernible \"depth\" to it. It's not a moral message about pod people masquerading as normal citizens. It's not a warning of any kind, just a fairy tale that diverts and amuses. I always enjoy it when it's on. It's especially interesting to see John Hoyt as the irritable and impatient businessman, knowing that in 1954 he was the Roman Senator who masterminded the assassination of Julius Caesar in MGM's version of Shakespeare's play. And here he is -- with three arms. Oops.", "label": 1, "domain": "movie_review", "token_count": 426, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0131", "text": "The reviewer who called this movie a bust has clearly missed the point. It's obvious he hasn't been young or innocent in a very long time, or he might have understood that the tragedy of it was that the well-meaning young characters actually thought they COULD make a difference by putting up posters and holding a rave for peace. If only it was that easy. But the cynics sit and sneer at people who earnestly try their best to make things better, as the situation gets worse and worse every single day. Well, if you're not part of the solution, you're part of the problem. The central theme is that revenge begets more revenge, which begets even more, in an ever-expanding bloodbath. Both sides will tell you tales of atrocities committed by the other side, which they think justify their committing even MORE in retaliation. Where does it end? And apparently he missed the significance of \"the bubble\" referred to in the name, which was that people living in Tel Aviv are strangely cut off from the ugly realities of what is going on all around them, which is partly why they seemed so naive. (He also seemed to think that Ashraf could slip through the checkpoints without a problem, which tells me he wasn't paying attention when Ashraf related the delays and problems he had encountered.) I found it very brave of the director, the screenplay writer, and both star-crossed lovers, to update the Romeo & Juliet story to a modern troubled land, and to make both lovers male. Let's be honest here: Very few people would have a problem if one of them had been a female (young love wins all hearts) -- but when people's uneasiness with their sexuality is added to the fact that, incredibly, these same people would rather have them HATE each other, then the conclusion is inevitable.", "label": 1, "domain": "movie_review", "token_count": 375, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0132", "text": "Bravo! Morgan Freeman is an actor, who researches a character he is selected to play, before he makes a commitment. Freeman is a 'good fit' for this film (like he was for \"Driving Miss Daisy\"), and he is not only believable, but he gets a chance to change his image of playing a character with reserved dignity and propriety. Although there are no guarantees in life, for anyone, this gives an actor a great opportunity to play different or unique characters that stand out, in order to avoid getting stereotyping. And it must be said that stereotyping has hampered, or completely ruined, a significant number of acting careers. This is a low-budget film that, amazingly, was made in a time span of only two weeks. It is a film that is well directed and written by Brad Silberling. The location manager chose Carson, CA for the film's setting, and the location helps set the tone and timing for the film. The editing is fair to good, but a little rough. Silberling was the 'subcontractor', in getting Freeman to do this film, while the actor was in-between film projects. There is a good chemistry between Freeman and Paz Vega, a Spanish actress, and this opens an effective dialog between each of the cast members, who are diverse and come from different cultures. The film also encourages an understanding between people, who not only speak two languages (English and Spanish), but come from two different worlds of ethnicity, race, gender, norms, mores, beliefs, folkways, principles, and values. The film strives for some honesty, and arrives at some truth, to maintain the film's integrity. Part of the comedy is that Freeman plays an unemployed actor that has been out of work for four years. In truth, Freeman is so-in-demand as an actor that he is constantly working. The film offers an adventure of bonding, caring, sharing, changing, and exchanging. And, the film's outtakes give the viewer a preview of some of things an actor must go through in preparing for a role. If necessary, tell your boss that you're taking a 'mental health day', and go see this film. If you're able, take your significant other or your family with you. I rank the film a 10 out of 10. It's enjoyable, interesting, informative, poignant, and worthwhile.", "label": 1, "domain": "movie_review", "token_count": 483, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0133", "text": "I had the pleasure of screening \"The Big Bad Swim\" at the 2006 New London Film Festival last week. The festival highlights some of the best independent and non-mainstream films from the past year. It was my assumption that \"The Big Bad Swim\" was chosen for screening at this festival for the simple reason that it was shot locally in and around Eastern Connecticut. However, as the credits began to roll I could only think about how well \"The Big Bad Swim\" compared to the others featured during the festival. By far it topped my list, followed by \"The Puffy Chair\", \"Who Killed The Electric Car\" and \"Transamerica\". The \"The Big Bad Swim\" is an engaging, truthful and often-humorous look at several adult education swim class pupils and their likable yet troubled instructor that has a depth that I've not seen on screen in quite a while. The interweaving character development and plot lines derived from something as absurd as adult-swimming lessons works in subtle and endearing ways which I found refreshing. The plot doesn't beat you over the head with a direction; rather it builds and grows organically with a pace that was spot on. I was never bored. I never cringed. I never stepped out of the story on the screen. The humor of the film is something like \"Napoleon Dynamite\" meets \"Old School\". The acting from a group of relatively unknown actors was credible and their dialog never seemed awkward or contrived. Obviously not being a multi-million production the camera shot weren't all awe-inspiring and clear, but adequate and well done for the budget. The lighting and filming technique for scenes filmed in the strip club setting were particularly eye catching because of a more realistic approach than a similar themed scene found in \"Closer\". I also found shots filmed underwater of the class from the waist down seemed to be just as much a portrait of character as a shot from the shoulders up could be. I sure it's said over and over from many in the independent film industry, but I have to say it: If \"The Big Bad Swim\" isn't picked up for some kind of distribution I would extremely disappointed. \"The Big Bad Swim\" needs to be seen. If you have the chance to see this film, SEE IT! Disappointment is impossible!", "label": 1, "domain": "movie_review", "token_count": 470, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0134", "text": "North Africa in the 1930's. To a small Arab town on the edge of the Sahara comes a beautiful woman looking for meaning to her life & a handsome Trappist monk fleeing from his crisis of faith. They will meet and passions will be stirred, but not even the Sand Diviner knows if they will find happiness or sorrow, here, in THE GARDEN OF ALLAH. The plot is pure hokum, but the film is still great fun & beautiful to look at. Marlene Dietrich & Charles Boyer are a superb screen couple. She is, to put it simply, gorgeous, and Boyer gives a most effective, understated performance, letting his sensitive face do much of his acting for him. The supporting cast is excellent: Basil Rathbone, in a sympathetic role as a Count who loves the desert; Joseph Schildkraut as a friendly, talkative guide (all the \"Arabic\" he & others speak in the film is pure gibberish); Lucile Watson as a gentle Mother Superior; Alan Marshal as an honorable young French officer; Tilly Losch as a dangerous dancer; Henry Brandon as a comic porter; John Carradine as the mysterious Sand Diviner; and magnificent Sir C. Aubrey Smith as a wise old priest. Movie mavens will recognize Helen Jerome Eddy as a nun; Marcia Mae Jones & Bonita Granville (peeking over the nun's shoulder) as convent girls; gaunt Nigel De Brulier as a monastery lector; and Ferdinand Gottschalk as a hotel clerk, all uncredited. Color films of the 1930's are both rare & lovely to look at, and this movie is no exception - the cinematography is as colorful as the desert itself. THE GARDEN OF ALLAH was the first Technicolor film to be shot on location. Yuma, Arizona gave the film makers all the sand dunes they could desire, but contaminated drinking water & 135 degree heat soon had the company in revolt. When the daily rushes showed Boyer's face had burned a bright tomato red, producer David O. Selznick finally gave in. The remainder of the film was shot on a Hollywood sound stage.", "label": 1, "domain": "movie_review", "token_count": 452, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0135", "text": "I've watched this movie twice now on DVD, and both times it didn't fail to impress me with its unique impartial attitude. It seems more like a depiction of reality than most other Hollywood fare, especially on a topic that is still hotly discussed. Even though it sticks closely with the southern viewpoint, it doesn't fail to question it, and in the end the only sentence passed is that the war is lost, not matter what, and cruelty is a common denominator. What really makes this movie outstanding is the refusal to over-dramatize. Nowadays truly good movies (in a nutshell) are few and far apart, with mainstream fare being enjoyable (if you don't have high expectations), but terribly commercially spirited. I think this movie comes off as a truly good movie (without being a masterpiece), because it sticks to itself, and gives the viewer a chance to watch and analyze it, instead of wanting to bombard him with effect and emotion to blot out his intelligence. This movie is cool, observant, and generally light-handed in its judgement, which is GOOD. The story has its flaws, especially Jewel's Character comes off doubtfully, but then again the situation at the time was so chaotic, that for a young widow it might have been only logical to somehow get back into a normal life, even by liberally taking each next guy. Still she doesn't come off as weak, in fact I think she's one of the stronger characters, she's always in control of the relationships, with the men just tagging. And I take it very gratefully that she's not a weeping widow. I believe in the 19th century death of a loved one was something a lot more normal than now. You could die so easily of even minor illnesses and injuries, so the prospect of of someone dying, while surely causing grief, didn't traumatise people like it does now. People didn't seem to build shrines about their lost ones like they do now, and I like that attitude. My recommendation is for intelligent people to watch this movie, if they are in the mood for something different than the usual hollywood fare. Don't watch if if you want non-stop action or heart-renting emotion.", "label": 1, "domain": "movie_review", "token_count": 448, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0136", "text": "In Manhattan, the American middle class Jim Blandings (Cary Grant) lives with his wife Muriel (Myrna Loy) and two teenage daughters in a four bedroom and one bathroom only leased apartment. Jim works in an advertising agency raising US$ 15,000.00 a year and feels uncomfortable in his apartment due to the lack of space. When he sees an advertisement of a huge house for sale in the country of Connecticut for an affordable price, he drives with his wife and the real estate agent and decides to buy the old house without any technical advice. His best friend and lawyer Bill Cole (Melvyn Douglas) sends an acquaintance engineer to inspect the house, and the man tells that he should put down the house and build another one. Jim checks the information with other engineers and all of them condemn the place and sooner he finds that he bought a \"money pit\" instead of a dream house. \"Mr. Blandings Builds his Own House\" is an extremely funny comedy, with witty lines and top-notch screenplay. Cary Grant is hilarious in the role of a man moved by the impulse of accomplishing with the American Dream of owning a huge house that finds that made bad choice, while losing his touch in his work and feeling jealous of his friend. In 1986, Tom Hanks worked in a very funny movie visibly inspired in this delightful classic, \"The Money Pit\". My vote is eight. Title (Brazil): \"Lar, Meu Tormento\" (\"Home, My Torment\")", "label": 1, "domain": "movie_review", "token_count": 310, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0137", "text": "Okay, the recent history of Star Trek has not been good. The Next Generation faded in its last few seasons, DS9 boldly stayed where no one had stayed before, and Voyager started very bad and never really lived up to its promise. So, when they announced a new Star Trek series, I did not have high expectations. And, the first episode, Broken Bow, did have some problems. But, overall it was solid Trek material and a good romp. I'll get the nits out of the way first. The opening theme is dull and I don't look forward to sitting through it regularly, but that's what remotes are for. What was really bad was the completely gratuitous lotion rubbing scene that just about drove my wife out of the room. They need to cut that nonsense out. But, the plot was strong and moved along well. The characters, though still new, seem to be well rounded and not always what you would expect. The Vulcans are clearly being presented very differently than before, with a slightly ominous theme. I particularly liked the linguist, who is the first Star Trek character to not be able to stand proud in the face of death, but rather has to deal with her phobias and fears. They seemed to stay true to Trek lore, something that has been a significant problem in past series, though they have plenty of time to bring us things like shooting through shields, the instant invention of technology that can fix anything, and the inevitable plethora of time-travel stories. Anyone want to start a pool on how long before the Borg show up? All in all, the series has enormous potential. They are seeing the universe with fresh eyes. We have the chance to learn how things got the way they were in the later series. How did the Klingons go from just insulting to war? How did we meet the Romulans? How did the Federation form and just who put Earth in charge. Why is the prime directive so important? If they address these things rather than spitting out time travel episodes, this will be an interesting series. My favorite line: Zephram Cochran saying \"where no man has gone before\" (not \"no one\")", "label": 1, "domain": "movie_review", "token_count": 447, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0138", "text": "Really, I think this movie is more an example of an easy target than a truly bad film. In fact, the movie is done very well in many respects and is very entertaining. Yes, the script is a little convoluted, but that's the genre. The film has a noirish atmosphere centered around a femme fatale. Just like all the old noir classics, this, too, has a screenplay that twists you around so that you don't always know how to make sense of it at first, and it can be a stretch if you think too deeply and try to put all of the pieces together. That's the genre. In general, the script has enough surprises and turns to keep the viewer guessing and, in turn, surprised, without abandoning the viewer. Sharon Stone is also an easy target. The truth is she looks great and she speaks her double-entendre laden dialog in such a way as to zhuzh it up into something mysterious, sexy and fun. The direction is more than passable, because let's face it--you have to keep an audience interested in the \"did she or didn't she?\" question for two hours. In addition to a twisty script and a fun performance by Stone, this is done effectively through the direction by the creation of a noirish atmosphere that is both dark and very stark and modern at the same time, with straight industrial lines to go along with Stone's sexy curves. The frame is always beautiful--press pause anywhere and there is something interesting to the eye. The film also effectively builds on things that were gimmicks in the first film and turns them into something a little more real, particularly the sex. \"Katherine Tramell is bisexual...how shocking!\" becomes treated more matter-of-factly here, and typically, the sexuality of the film is used to better effect. It is still titillating, but not done so readily for shock value and buzz as done in the first. I won't say that it isn't still somewhat of a gimmick because, let's face it, this film is supposed to be fun. And a fun film it is. It may be an easy target, but if you watch it for what it is: a noirish, femme-fatale driven, twisty, sexy, did-she-or-didn't-she who-dunnit, you're bound to enjoy it (no pun intended).", "label": 1, "domain": "movie_review", "token_count": 492, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0139", "text": "This is my favorite Jackie Chan movie and in an interview, Jackie said it was his favorite as well. It contains some unbelievable stunts and jaw dropping fight sequences as well as some very funny scenes as well. This movie was a favorite of Brandon Lee, who used parts in Rapid Fire, and was also lifted in Tango and Cash, which used some of the opening scenes. Jackie plays a policeman in Hong Kong. The story immediately jumps into a fantastic chase through a shanty town and continues as Jackie slides down a hill and jumps onto a moving bus to catch the evil Ku (who is one of the greatest villains in any Jackie Chan movie.) You can expect some very funny scenes as Jackie tries to balance his duty as a policeman with his girl friend, played by Maggie Chung. His job is to protect Ku's secretary who has enough information to take him down, but even that poses many problems. Jackie is at his absolute best here. The last fight scene at the mall is my favorite fight scene by anyone - period. It was the most intense fight I have ever seen Jackie do and climaxes in a slide down a pole amidst exploding lights. All in all, one of his greatest stunts he ever did and left him with skin pealed off his hands. He was fortunate he was not electrocuted as the person in charge of the stunt used high voltage instead of a lower voltage. All in all, another Chan classic and definitely one of his greatest movies. By the end of this movie, you can tell he held absolutely nothing back and neither did his stuntmen. So many of his stuntmen were injured during this movie that nobody would insure them anymore - Jackie had to take responsibility himself. There are no gimmicks, wires or stand-ins - it is all true-life action that is a treat to watch. It is this type of action that made him the phenomenon that he is and it is a movie that will amaze people 100 years from now. If you have not seen this movie and are a fan of Jackie Chan or action in general, give yourself a treat and watch this movie. It is truly sensational.", "label": 1, "domain": "movie_review", "token_count": 430, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0140", "text": "This is a very rare film and probably the least known from Shirley Temple as it isn't on any of her collections.The reason why is probably because it doesn't have a happy ending,unlike all her other films.Its also not a musical,although she does belt out one song called' The world owes me a living'.The film was made in 1934 and originally in black and white,the version i have is in colour and on VHS,i would say they have done a fine job as the colour does look realistic,unlike i would say the colourised films of Laurel And Hardy which are dreadful.The film is good for its age and the story hasn't dated at all,I'm surprised no one has tried to do a remake.At times the film is a little bit to talky as some of the scenes with Gary Cooper and Carole Lombard seem really dragged out, in some scenes they seem to take fifteen minutes to say what they could have said in five.Although don't be put off by this because this film does have some genuinely good moments in it,especially when {Jerry}Gary Cooper steals a necklace,and hides it in Shirley's teddy bear.The tension and slow build up to his actions,{while at the same time his daughter is singing to an audience in another room}is very well directed.Gary and Caroles edgy facial expressions when they are put under scrutiny are also very good.In all this is a good film from the early 30's,accept it for its age.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0141", "text": "I don't watch much porn, but I love porn stars. And I love gory movies. So when I heard about a porn-star gore movie, I was really excited. Of course, that was years ago and when I heard about all the trouble with making and finishing the movie, I never thought I'd actually get to see it. But I did and I'm not ashamed to admit I loved it, even with all its flaws. First, the flaws. The story is set in Ireland and is called Samhain, but the story it seemed to want to tell is about the Sawney Beane clan from Scotland. So why not just set it there and skip the third-grade report about Samhain/Irish immigrants/Halloween? Also, it breaks its own rules by stating that you're safe on the trails, but then the cannibal mutants just start running amok everywhere. It's never clear how many cannibals we're dealing with. There's a big stone castle that's obviously ancient, yet no one's noticed it before. The self-conscious horror film references are annoying and so are the characters. The heroine has a flashback montage of all her dead friends that include a character she NEVER MET. The ending makes no sense. So what works? The gore! Sure I would have liked more, but it was refreshing to see such a nasty movie that wasn't afraid to be nothing more than a gore movie. Two murders are waay over the top and Taylor Hayes has a nice disgusting scene. The two wild murders are even given extended shots on the DVD. I've always been of the mind that gore can overcome a stupid story and Evil Breed reinforced that.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0142", "text": "The Running Man is one of those films that if overwatched, would become boring and depressing even. My advice is to watch it maybe once or twice a year with a couple of mates and a few drinks. In todays climate of TV Media domination and the capitalist mode in society it really does work as a revisionist social commentary, post 1980s-boom. Forget that though! There are other brilliant and better reasons to watch this film. Schwarzenegger is on top form as Ben \"The Butcher of Bakersfield\" Richards, and the inclusion of Bond-belting one liners was completely inspired-thety are truly leg-end-dary (with his rant to Killian over a camera the main highlight). The design of the stalkers is authentically American, and mirrors the characterizations seen in the PC 'Gladiators' TV show, and the WWE as well. Buzz-saw's grisly end will chill any viewer to the core (as a foot note, why does his death stand out as particularly disturbing in what is ostensibly an upbeat actioner with a bitter sense of humour?) Jesse Venturer and Sven Ole Thorssen are great as backing muscle (and are Arnies buds in real life), and its even got Mick Fleetwood in it too! What more could you ask for? I highly recommend the Running Man if you're looking for a great piece of entertaining action, with a glossty finish and some great characters. Just don't expect an education from it (at least on surface value). Quality, I bloody love it actually. You will too unless you're a thesp. 7/10", "label": 1, "domain": "movie_review", "token_count": 335, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0143", "text": "Like his elder brothers, Claude Sautet and Jean-Pierre Melville, Alain Corneau began to cut his teeth in French cinema with a series of fine thrillers: \"la Menace\" (1977) and \"Série Noire\" (1979) among others. \"Police Python 357\" is a good example of how Corneau conceived and shot his works at this time of his career. They had a splendid cinematography, painstaking screenplays and a sophisticated directing elaborated for efficiency's sake. The police superintendent Ferrot (Yves Montand) is a cop with unconventional methods who usually works all alone. He makes the acquaintance of a young woman Sylvia Léopardi (Stefania Sandrelli) and becomes her lover while ignoring that she has another lover: his superior Ganay (François Périer). When the latter learns it, he kills her in a fit of anger. Ferrot has to investigate the murder and all the clues are inexorably against him... One could deem that this kind of far-fetched story isn't exempt from glitches and sometimes, one can see right through it but Corneau's pedantic directorial style helps to conjure up a stifling, dusky atmosphere. The first part of the film before the night of the murder might seem uninteresting and however, it is crucial for what will follow this key-moment. Corneau falls back on a sober treatment with rather sparse moments and short appearances by secondary, minor characters whom the viewer will see again during the investigation. In spite of drawbacks, Corneau and his scenarist Daniel Boulanger penned a deft story. Ménard (Mathieu Carrière) who sometimes expresses his surprise because Ferrot keeps a relatively low profile during the investigation. But his superior knows that he usually works alone. Actually, Ferrot has to find solid tricks to muddy the waters and so to exonerate himself. Eventually, the chief idea of the film concerns Ferrot himself. He's a cop who bit by bit loses his identity and finds himself in the heart of a terrible depersonalization. It is epitomized by the moment when he throws himself acid on his face so that witnesses won't recognize him when he is brought face to face with them. The backdrop of this thriller, Orléans is efficiently enhanced by Corneau's camera and helps to inspire this eerie thriller its pernicious charm.", "label": 1, "domain": "movie_review", "token_count": 494, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0144", "text": "\"If I sit down I will never stand up again\", that's what the mother (the one of the title) says to his son when he tells her to get some rest (she's just widowed). He means that resting is what a woman of his age and in her situation has to do: to rest in peace, to neglect herself. But she's not in the mood for \"resting\", not yet. She also has a daughter who reproaches her for each and every disasters in her life... Suddenly, the revelation comes: sex and passion in the figure of a muscular carpenter 30 years younger than her (Daniel Craig, the brand new James Bond) when she \"thought nobody would ever touch her again\". It is a story that makes you reflect on many things, specially on what's a 60 something woman is supposed to do with her life when his husband dies. It doesn't look that we've advanced that such in those aspects. I mean, nobody's surprised when Sean Connery has a love affair in a movie with Catherine Zeta Jones... but what would you think if it was otherwise? An old woman, a young guy... nah, you ain't ready for that, are you? The movie has intimist tones all along its length, except for 2 or 3 sequences in which that tones breaks and out comes some explicit and foul-mouthed dialogs. Those vulgar touches and the way the son and the daughter find out their mother's love affair (pretty absurd -you'll know what I mean when you watch it-) are the only discordant elements in \"The Mother\". *My rate: 7/10", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0145", "text": "This one will get reviews all over the map because it doesn't comfortably fit any mold. It's horror-- but not a splatterfest. It's equal part Suspense as well as Horror-- yet without the usual Hollywood screams and jerky camera. The feel of the movie is spare and lean with next to no special effects because I think you should listen and watch the faces of the characters. Forget that Brendan is a graduate of the Buffy universe. That's a red herring. He IS acting here. 'Camp' is a misreading of the tone of this story. Adrienne Barbeau is giving a rock solid performance-- so she must believe the script has something to say. We all know the sorry excuses where the actors plainly don't care anymore and are just waiting for the director to snap \"Cut\" and get their paychecks. This is Not the case, here. Forgive the fact that the bodies begin to fall with almost mondo-funny regularity. I don't think the intent was humorous-- but to keep you off balance. Think of it less of a Horror 'Movie' and more of a Horror 'Play' on a stage-- that decrepit whitewashed house. Then you might see it's really about paranoia, fear, and spiralling madness set in an isolated someplace, USA. And it is twisty. Time travel, Mind Control, secret experiments and Nazi's who may NOT be dead. . .yet. I say rent it and give it a try if you're in the mood for something a little cerebral. This would be a good choice for a Saturday Midnight sit down.", "label": 1, "domain": "movie_review", "token_count": 330, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0146", "text": "\"Lion King 1 1/2\" is the funniest non-theatrical release from Disney. I recently saw this movie again after not seeing it in many years. I remember first time I saw it I didn't had any expectations at all and were pleasantly surprised by this watchable and highly entertaining movie. Is it better than \"Simba's Pride\"? In many ways, yes. Though \"Simba's Pride\" wasn't exactly bad, it did suffer some problems: lack of an good script and bad characterizations, which made impact of what otherwise a okay film. Anyway: It's nice to see Timon and Pumbaa's personalities blossom again in the way that we (or certainly me) loved about them in this film; in \"Simba's Pride\" they were completely annoying and I didn't liked the \"Timon and Pumbaa\" series neither. This film could easily have been a stupid one, but fortunately the filmmakers didn't took the wrong turn and instead focused to make this film at times extremely hilarious. There are a few jokes that adults can enjoy on their own. The score is quite good. There are two new songs, which are catchy and two new characters, Timon's mom, (voiced by recognizable Marge Simpsons' Julie Kavner) and Uncle Max, which are enjoyable. The friendship between Timon and Pumbaa are touchingly portrayed. The emotional scenes are well integrated in the comical story and doesn't feel out of place, which it could have easily done (especially in comedies). But is there something that distracts this picture from getting 10 votes from me? Yes, there is. Although they fortunately doesn't impact too much, but I'll mention them: 1. Many of the scenes from the first film are used in this one. Personally, it was weird to see the old scenes integrated with the new ones. 2. During the climax, some of the jokes becomes lame. 3. Storywise, this is Timon's story and although the filmmakers try to integrate his tale with Simba's, it makes the screenplay feel a little rushed at times. But hey, those details doesn't impact this otherwise amusing movie. It is the only really acceptable Disney sequel, which should be in every movie collection.", "label": 1, "domain": "movie_review", "token_count": 468, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0147", "text": "This is a wonderful movie about the struggle of the Mormons and their final settlement in Salt Lake, Utah. The beginning and the ending are especially powerful, and the message is one we all have to be reminded of - God doesn't talk, but he communicates, if we would only listen. As I am writing this in the midst of the horrors going on in New Orleans and the surrounding area due to Katrina, I was especially moved by the Mormons having to leave everything behind and move on after Joseph Smith was assassinated. People came to this country to escape religious persecution, and yet they could not. The struggle of the Mormons to cross the country, the cost in lives, the hardship they suffered was truly awe-inspiring, demonstrating their tremendous strength. As far as the actual beliefs of Mormons, this is not heavily gone into, and polygamy is mentioned but is not a centerpiece of the film at all. The cast is top-notch, though others who have commented know more about the actual characters and can talk about how true the portrayals were. But as actors, Dean Jagger, Mary Astor, Brian Donlevy, John Carradine, Jane Darwell all do excellently with the script they were given. Though the film could have easily stood on its own (and certainly does today) Tyrone Power and Linda Darnell were added to the cast to get the crowds into the movie theaters to see a film about the Mormons. Power is magnificently handsome as a young Mormon, and Darnell, as Zina, is not a Mormon but stays on with the family after her father is killed. Power does not have much to do until the end of the film, when he has a big scene, and Darnell (still a teenager at the time of the filming) has even less, though they make a lovely couple. Their fate is left unclear regarding her conversion, and one does wonder about the polygamy in their case. You can't beat either one for eye candy, however.", "label": 1, "domain": "movie_review", "token_count": 409, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0148", "text": "Artemisia Gentileschi, the daughter of Orazio Gentileschi, showed an early promise as a painter. Taught by her father, Artemisia was born in an era that denied talented women the right to have their work seen side by side art created by men. Her tragic life is chronicled in this biographic film directed and co-written by Agnes Merlik. Having read the novel \"The Passion of Artemisia\" by Susan Vreeland, made us investigate more into the life of this woman, her work, and her legacy. We also read Mary Garrard's \"Artemisia Gentileschi\", which should be a must read book by all art lovers. \"Artemisia\" presents the fictionalized facts we have read about showing the early life of the young woman as she starts to paint. She was clearly influenced by the work of her father, by Caravaggio, Agostino Tassi, and other Florentine painters of that period. Her relationship and love affair with Tassi is the basis of the film. Artemisia, unfortunately couldn't go as far as she could have because of the prejudice against women in the arts. It didn't help either she caused a scandal where she is accused of being raped by Tassi. She had to go to Rome in order to distance herself from that unhappy time of her life. Valentina Cervi makes a beautiful Artemisia. She is a gorgeous creature who awakened passion in men. Michel Serrault plays Orazio, her father. Miki Maojlovic is seen as Tassi, the man who wanted Artemisia, but ended up in jail. Emmanuelle Devos appears for a moment. The film has a glossy finish that the camera work of Benoit Delhomme captures in all its splendor. The scenic locales of the film offer an idea of what inspired that school of painting to show in their canvases. The music by Krishna Levy serves well what we see. Agnes Merlik directed with sure hand showing a visual style of her own.", "label": 1, "domain": "movie_review", "token_count": 418, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0149", "text": "Visual creative epic of inimitable style. This film may neither have the most alternative dramaturgy nor the most artistic acting. But who dares to say this film is no art? I'm not a supporter of the idea, that an important film must be serious, non-commercial or bothering me with questions. Even there are a lot of films, apposite to this attributes, that I like. Bogus Journey, for sure, is not one of this films. What you get is pure, excessive creativity with a very positive charged, childlike energy. This film doesn't reflect reality. Its friendly-naive and utopian. Imagine the world of the future described by Rufus - for me it would be a pretty nice time-place combination to live in! Except of that music ;- ) Technically, Bogus Jorney is very well made. I always liked the cinematography and the sceneries of this movie. Especially in this point Bogus Journey tops its prequel by far. Also the effects are good, and I think most of them very made without cgi. I generally prefer the good old effects in big budget movies. Sure its 'just another Hollywood movie' out of some peoples view. But I think it is this in a very charismatic way. A short word to the soundtrack: all the band and orchestral music fits very well into the film. Also the sound design has no lack. I am not a big fan of rock music, but I had to get this track by Winger from the scene 'station' builds the bill and ted robots in the van. I love the unorthodox camera work at its beginning. Let me conclude saying this: This film is very naive and very imaginative! It is way better than Panzerkreuzer Potemkin, The Godfather, Eraserhead or Aguirre - the wrath of god. It is absolutely superior to citizen kane, apocalypse now or chris markers sans soleil... ...it is even better than Total Recall... No way!? Yes way! Bill and Ted's Bogus Journey is simply the best movie ever made. Who dares to disagree makes himself guilty of \"artsie-fartsy behavior\" or likes Terminator Salvation (what is the bigger self-defamation) PS: part 1 is not the better movie. So Bogus Jorney is a superior sequel. Not even Terminator 2 is a superior sequel! Its NOT!", "label": 1, "domain": "movie_review", "token_count": 492, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0150", "text": "Thelma Ritter did steal the picture. I just finished watching it again. I couldn't help becoming emotional in her final scene. She didn't get the Oscar. That's why you shouldn't put too much faith in Oscars. Richard Widmark never had a better part and was perfect casting as a 3-D, flawed human being. Jean Peters was great as the streetwise, tough girl in her best role ever. And Richard Kiley must have been very good; why else would I have hated him so. Yes, it was heavy handed on the patriotism; but, without it, you don't have much of a film. Watch their faces! The top three stars didn't really need much script. I would like to have seen them do this film without dialogue. If you've ever seen Ray Milland and Rita Gam in \"The Thief\", maybe you know what I mean. When I was a kid in 1956 on my first trip to NYC, I made my Bronx uncle drive us to the foot of South Street looking for No. 66. That's when I knew that Hollywood couldn't be trusted. But I did find the river. I'm not giving away much of the story because I hate it when I know what happens before I see it for myself. If you have seen it, no elucidation is necessary. Just maybe, someone who is reading these comments hasn't seen \"Pickup On South Street\". You will like it; just don't go looking for 66 South Street in New York City.", "label": 1, "domain": "movie_review", "token_count": 312, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0151", "text": "There is this private campground in Plymouth, Massachusetts, that's been around since 1959. My grandparents were among its founders, my parents had a site starting in 1965, and my two brothers have sites there now. (This doesn't have anything directly to do with the movie; bear with me.) I spent summers at Blueberry Hill from when I was five years old to when I was eighteen, and it is to people like me to whom this film speaks: the ones for whom a group camp in the woods was, as my fiancée tells of me, \"the good and happy place.\" If you've never experienced the lifestyle, Indian Summer will probably be lost on you; don't bother. It's not quick-paced, it doesn't have rapid cuts, the plots aren't in the least bit convoluted, it has no explosions, such dramatic tension as exists is mild, there aren't any A-list actors, there are no rapid-fire quips just to show off how clever the scriptwriters are (other than, perhaps, Kimberley Williams' killer line about how her fiancé shouldn't \"overwind his toys.\" That is not the least degree what this movie is about, any more than The Godfather is a slasher flick just because it has a lot of on screen gore. But Indian Summer is Godfather's polar opposite. If you have experienced the lifestyle, see this movie. Don't read any more, just do it. For me, this is a 9/10 film.", "label": 1, "domain": "movie_review", "token_count": 310, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0152", "text": "Lion King 1 1/2 is a very fun and addictive sequel. Don't expect the production values of a theatrical release, but do expect the highest quality of direct to video release. It is set up as Timon & Pumba begin watching the original Lion King in a darkened theater and abruptly switch tracks and begin narrating their own story. This is done with frequent comedic interruptions. For example, during one particular tense moment a home shopping commercial pops on and a chagrined Pumba realizes he has sat on the remote. These little moments pepper the movie, and whether you find them entertaining or not will greatly depend on your sense of humor. If you are particularly bothered by movies that deliberately remind the viewer is watching a movie, than this may not be your cup of tea. Animation is the best they've invested in the Disney DTV line, and is integrated almost seamlessly with the original material. The newer, independent material uses a lot of the artistic style of the original. The voice talents are all well performed, though I couldn't help thinking of Marge Simpson every time I heard Julie Kavner. Many of the jokes in the movie will be well recognized by viewers as recycled over the generations, but are presented more with the familiarity of comfortable quirks of old friends than annoyingly repetitive. The music has made me realize how much I enjoyed and miss a good musical integrated with a Disney feature. The toe-tapping opening feature of 'Dig A Tunnel' is well choreographed and hilarious. Timon and Pumba's take on the Lion King's opening sequence and their introduction to paradise are also amusing. The only problem was the reprise of the 'Dig A Tunnel' at the end of the movie, switching its lyrics and tune from defeatist to uplifting. Story line is pretty well done, and the integration of new plot elements is done almost perfectly, though the final bit during the hyena chased stretched the storyline credibility a little. The new story doesn't seem to handle saccharine or emotionally charged moments to well, and does better when it is resorting to full comedy. Overall, worth purchasing. If you like all the bonus features that come with a typical 2-disc set, then go for it. For the penny pincher who still is willing to invest on a good flick, wait until it drops four or more dollars and go rent it right away. Damion Crowley.", "label": 1, "domain": "movie_review", "token_count": 488, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0153", "text": "Greta Garbo's American film debut is an analogy of how our lives can be swept off course by fate and our actions, as in a torrent, causing us to lose a part of ourselves along the way. Greta plays Leonora, a poor peasant girl in love with Ricardo Cortez's character Don Rafael, a landowner. Ricardo is in love with her too, but is too easily influenced by his domineering mother. Leonora ends up homeless and travels to Paris, where she becomes a famous opera singer and develops the reputation for being a loose woman. In reality, part of her attitude is bitterness over Rafael's abandonment. She returns to her home to visit her family and eventually confronts Rafael. Surprisingly, no one knows that she's the famous La Brunna, and Garbo acts up her role as the diva she truly was and re prised with such cool haughtiness in her later portrayals. Ricardo Cortez reminds one a lot of Valentino in looks in this part, and he was groomed to be a Valentino clone by MGM, though he never thought he could be in reality and he was right. He is believable in an unsympathetic part as a weak willed Mama's boy, and allows himself to age realistically but comically at the end of the movie. He fails to win Leonora when she returns home, and later when he follows her, his courage is undermined. This movie is beautifully shot, with brilliant storm sequences and the sets depicting Spain at the time are authentic looking. There are also some fine secondary performances by old timers Lucien Littlefield, Tully Marshall, and Mack Swain. Although this is a story of lost love and missed chances, I don't think Leonora and Rafael would have been happy together, as he needed a more traditional wife and she was very much a career woman, and I don't think would have been happy in a small village. The ending is true to life and pulls no punches. See this one as Garbo's American film debut and a precursor of things to come", "label": 1, "domain": "movie_review", "token_count": 422, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0154", "text": "Robert Siodmak does a fabulous job with this B noir starring Ella Raines, Franchot Tone, and Alan Curtis. And he does it, I might add, without a lot of help from his male actors, i.e., Curtis and Tone. It's Raines all the way, a pretty, leggy actress who for one reason or another never reached the status of some of her \"noir\" counterparts. Siodmak's use of sex, light, shadows, and music is truly remarkable as he tackles this genre. The shadows, lighting effects, and camera angles are all effective. But the highlight of the film takes place in a nightclub with a very sexual drum riff by Elisha Cook, egged on by an excited Raines. It's this scene that brings \"Phantom Lady\" into new territory. Siodmak's commitment to the material is matched only by Raines, who gives a sincere performance as a woman in love trying to save her man. Franchot Tone phoned this one in. Alan Curtis didn't seem upset that he might die and didn't seem happy that he lived. And he never, except for a brief moment in prison, seemed to be in love with Raines. The amusing thing about many of these films is that, as World War II progressed, interest in psychiatry deepened. But often the terms were used incorrectly in films such as \"Possessed,\" \"Spellbound,\" and \"The Greatest Show on Earth.\" Tone is called paranoid by Thomas Gomez - Tone probably has some paranoia attached to his disorder, but he appears to be closer to a psychopath. In actuality, as evidenced by his headaches, he may have had a brain tumor pushing against his brain. Phantom Lady doesn't have the greatest plot, but it's well worth watching.", "label": 1, "domain": "movie_review", "token_count": 368, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0155", "text": "Herbet Clutter, wife Bonnie, and their teenage children Kenyon and Nancy were much liked and respected in their tiny town of Holcomb, Kansas--but in the early hours of 14 November 1959 all four were brutally murdered. Rather unexpectedly, the crime made an impression on author Truman Capote, who rushed to the scene and followed the course of the case to its conclusion. The result was the book IN COLD BLOOD. Controversial, shocking, and exceptionally well-written, it became an international best seller and it remains a touchstone for crime writers to this day. The 1967 film version of Capote's work is almost as remarkable as the book itself. Filmed in black and white in many of the real-life locations, it has a slightly documentary quality, icy and detached--and the overall cast is exceptional. This is the film on which Robert Blake's reputation as an actor rests, and deservedly so. As killer Perry Smith, Blake traps you between a profound distaste and the shock of unexpected sympathy; it is a masterful performance from start to finish. As Richard Hickock, Scott Wilson is no less fine. Like Capote's book, the film opens with Smith and Hickock as they travel to Kansas and brings them to the Clutter home--only to suddenly flash past the crime to detail the investigation that finally resulted in their arrest and conviction. The centerpiece of the film has always been the moment at which we at last see what occurred in the Clutter home; actually filmed in the Clutter house itself, it is a spinechilling sequence, horrific and deeply disturbing. Director and writer Richard Brooks guides the film with a very powerful sense of deliberation, erring only in the sense that he allows the film to become slightly preachy. Given the overall power of the film, however, this becomes a trivial annoyance. Strong stuff--and recommended. GFT, Amazon Reviewer", "label": 1, "domain": "movie_review", "token_count": 391, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0156", "text": "It may (or may not) be considered interesting that the only reason I really checked out this movie in the first place was because I wanted to see the performance of the man who beat out Humphrey Bogart in his CASABLANCA (10/10 role for the Best Actor Oscar. (I still would have given the Oscar to Bogie, but Paul Lukas did do a great job and deserved the nomination, at least.) Well, I'm glad I did check this movie out, because I enjoyed it immensely. I think the movie did preach a little, but not only did I not mind, I enjoyed the speeches and was never bored with them. The acting was outstanding in this movie. I especially enjoyed Paul Lukas, Lucile Watson (rightfully nominated for an Oscar), Bette Davis (wrongfully not nominated), George Coulouris and, oddly, Eric Roberts, who plays the middle child. I really enjoyed his character: an odd-looking boy who talks like some sort of philosopher. He just cracks me up. Even the characters name (Bodo) is funny. The ending, in which Lukas's character was forced to do something he considered wrong even though he was doing it for all the right reasons, worked for me as well. I agreed with why he felt he had to what he did, and I understood why he couldn't quite explain it. The message this movie makes is a good and noble one, the scenery (meaning the house) is beautiful, and the acting is the excellent. Watch this movie if you ever get a chance. 9/10", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0157", "text": "Before films like 'The Texas Chainsaw Massacre,' 'Suspiria,' and 'Halloween' changed the view of horror forever, there was a more Gothic and far less violent era in the genre. Films like the Hammer Horror series and 'Rosemary's Baby' were what scared and thrilled audiences throughout the 60s and early 70s. I can't tell you how many times I rented this film during my childhood, but I did because there was something about it. I didn't want to limit myself to the slasher and zombies movies of the 70s and 80s and films like this production from the famous, but sadly long gone Amicus film company were a good start. Pros: A grand, eerie music score. Strong performances from a stellar cast. Brilliant cinematography. Plenty good old fashioned thrills and chills, especially in the first and last vignettes. Some haunting moments and images. Moves at a slow, but stead pace. The house is one spooky, oppressive dwelling. Great production design and set decoration, which give the film a real old Gothic horror feel. Depends more on mood and bloodless chills than on gore and gratuitous nudity for it's thrills. Cons: Some pacing issues in the first half. Aside from the 'The Cloak,' the rest of the stories feel like they've been done before. Clichés galore. The second story, 'Waxworks,' has fine acting and it's moments, but is the weakest of the four in terms of scares and suspense. The low budget really shows at times. Final thoughts: After seeing this film for the first time in many years I can see why I rented it so frequently. It's not a masterpiece by any means, but it's a good example of a time when horror films were made with style and class. Watch this one with the lights off. My rating: 3.5/5", "label": 1, "domain": "movie_review", "token_count": 391, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0158", "text": "A somewhat fictionalized biographical portrait of Abraham Lincoln's early years from Director John Ford, concentrating primarily on a trial in which the young lawyer defends two brothers accused of murder. The film offers an interesting portrayal of this important American figure and the film is well made, but seems somewhat incomplete without any of the great moments from his presidency or even his debates with Stephen Douglas. The obvious intent was to portray Lincoln as young man developing the attributes that would make him the great man he would become. But the result for me was that while I admired the portrayal it just wasn't as satisfying as I think it could have been with a greater scope. In the role of Abraham Lincoln we have Henry Fonda who effectively displays a quiet strength. Fonda's performance includes some gangly mannerisms' and other affectations which are fairly effective in presenting a portrayal of Lincoln, particularly when combined with some effective makeup and the costuming which occasionally is a bit to overt. The supporting cast is solid and surprisingly does not include that many of Ford's regular supporting cast (sometimes referred to as his stock company) but we do have Ward Bond one of the most prolific character actors in Hollywood. Bond has appeared in more of the AFI Top 100 Films than any other actor, both the original and revised list. He has also appeared in 11 Best Picture Nominees. The film features one scene that would seem to have inspired a quite similar scene in \"To Kill a Mockingbird\", where it would be done even better than it is here, even though that scene is one of the most effective in this film.", "label": 1, "domain": "movie_review", "token_count": 322, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0159", "text": "From the opening scene aboard a crowded train where a ruthless pickpocket is at work (RICHARD WIDMARK) stealing from a woman's purse (JEAN PETERS), PICKUP ON SOUTH STREET is relentlessly fascinating to watch. Partly it's because the acting is uniformly strong from the entire cast, the B&W photography is crisp and adds to the starkness of the story and characters, and because Samuel Fuller's direction puts him in the same league with the biggies like John (ASPHALT JUNGLE) Huston. In fact, it has the same urgency as the Huston film about a heist that goes wrong--but the payoff is not quite as strong. JEAN PETERS is excellent as the hard-edged girl whom Widmark describes as being \"knocked around a lot\". She gives a lot of raw energy and sex appeal to her role of the not too bright woman carrying a micro-film in her purse for her boyfriend (RICHARD KILEY), something the FBI already knows about. They're on her trail when the theft occurs. THELMA RITTER adds realism to her portrait of a woman called \"Moe\" who buys and sells anything to make a profit and ends up paying for it with her life. She's particularly touching in her final scene with Kiley. This one is guaranteed to hold your attention through its one hour and twenty minute running time. Good noir from Fox and notable for the performances of Widmark, Peters and Ritter.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0160", "text": "Coming from the same director who'd done \"Candyman\" and \"Immortal Beloved\", I'm not surprised it's a good film. Ironically, \"Papierhaus\" is a movie I'd never heard of until now, yet it must be one of the best movies of the late 80s - partly because that is hands down the worst movie period in recent decades. (Not talking about Iranian or Swedish \"cinema\" here...) The acting is not brilliant, but merely solid - unlike what some people here claim (they must have dreamt this \"wondrous acting\", much like Anna). The story is an interesting fantasy that doesn't end in a clever way that ties all the loose ends together neatly. These unanswered questions are probably left there on purpose, leaving it up to the individual's interpretation, and there's nothing wrong with that with a theme such as this. \"Pepperhaus\" is a somewhat unusual mix of kids' film and horror, with effective use of sounds and music. I like the fact that the central character is not your typical movie-cliché ultra-shy-but-secretly-brilliant social-outcast girl, but a regular, normal kid; very refreshing. I am sick and tired of writers projecting their own misfit-like childhoods into their books and onto the screens, as if anyone cares anymore to watch or read about yet another miserly, lonely childhood, as if that's all there is or as if that kind of character background holds a monopoly on good potential. The scene with Anna and the boy \"snogging\" (for quite a stretch) was a bit much - evoking feelings of both vague disgust and amusement - considering that she was supposed to be only 11, but predictably it turned out that Burke was 13 or 14 when this was filmed. I have no idea why they didn't upgrade the character's age or get a younger actress. It was quite obvious that Burke isn't that young. Why directors always cast kids older than what they play, hence dilute the realism, I'll never know.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0161", "text": "One of director Miike Takashi's very best. It's so good it's difficult to put into words. At nearly fifteen years older than the target audience it thrilled me from beginning to end. It recalls similar children's films from the 1980s in the sense that (unlike today) those films weren't afraid to scare - there's a lot of nasty detail here that I initially found jarring but soon realised it's nothing different to what I grew up on. The film is a compilation of '80s kid's films conventions. You name it, it's there: a young boy hero thrust from his own unhappy/dysfunctional world into another, inhabited by mythical and mystical goblins; a quest to save both worlds from an evil force; a beautiful heroine he has a crush on; a sadistic henchwoman (Go-Go Yubari from Kill Bill Vol. 1); a lead villain who draws his evil power from something everyone in the world can relate to. But all these genre conventions are given a fresh spin and added depth. One of the IMDb reviews begins \"Where was this film when I was a kid?\" and it's a sentiment I agree with wholeheartedly. Even while watching it I lamented the fact that I hadn't grown up on it; that it wasn't a part of my childhood like Labyrinth, Masters Of The Universe and, to a much lesser extent, The Neverending Story. Those films, and others like The Goonies are recalled but never copied - Miike relentlessly offering us a new take on things. Poor CGI is a staple of many of his films, sometimes due to budgetary limitations but just as frequently an artistic choice - a desire to present things in an outlandish way. Here the CGI is mostly average, solely due to budgetary limitations, but nevertheless he does a fantastic job of putting on a spectacle. The CG effects combine with traditional puppets, animatronics and truly extraordinary make-up to create a world filled with rich characters (and characterisation) that frequently borders on the visionary. This ranks as one of the greatest children's films ever made. Not for younger or more sensitive kids though. Just jaw-droppingly wonderful. See it for yourselves and if you think your kids can handle/appreciate it then show it to them. Let them grow up on The Great Yokai War as some small compensation for the fact you couldn't.", "label": 1, "domain": "movie_review", "token_count": 493, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0162", "text": "I had intended to commemorate the 10th anniversary of Marcello Mastroianni's passing with numerous unwatched films of his that I own on VHS; however, given my ongoing light-hearted Christmas marathon, I had to make do with just this one! As it happens, it features one of his best performances - and he was justly Oscar-nominated for it (with the film itself being likewise honored). This was also one of 14 collaborations with that other most widely-recognized star to emerge from Italy, Sophia Loren; both, incidentally, are playing against type here - she as an unglamorous housewife and he a homosexual! By the way, the film's title has a double meaning: the leading characters are brought together on the historic day in which Hitler came to Italy to meet Mussolini (the event itself being shown in lengthy archive footage), but it more specifically refers to the stars' 'brief encounter' in which they share moments of friendship, revelation and, briefly, passion - though each knows that a return to their normal existence is inevitable, which leads to the film's abrupt bittersweet ending. This is virtually a two-hander (with all other characters - save for the nosy concierge of the apartment block in which the story takes place in its entirety - which include Loren's gruff and fervently patriotic husband, surprisingly played by John Vernon, appear only at the beginning and closing sequences); still, the cramped setting doesn't deter director Scola (for the record, this is the 7th film of his that I've watched and own 3 more on VHS) and cinematographer Pasqualino De Santis, so that the result - though essentially low-key - is far from stagy: the camera is allowed to prowl the various sections of the large building, observing the proceedings intimately or dispassionately as the situation requires, but always keenly. The narrative, of course, depends entirely on the performances of the two stars for it to be convincing, and they both deliver (their on-screen chemistry is quite incomparable); it's interesting, however, that while Loren walked away with the prizes in their home turf, it's Mastroianni's moving yet unsentimental outsider (the film, somewhat dubiously, does seem to equate his sexual deviance with Anti-Fascism!) who generally impressed international audiences!", "label": 1, "domain": "movie_review", "token_count": 487, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0163", "text": "Henry Hathaway was daring, as well as enthusiastic, for his love of the people of the early days in US history. However, to critique historical inaccuracies of his film about Brigham Young and the Mormon people are not necessary or useful in commenting for this film. In my opinion, Hathaway did superb direction that conveys what a Mormon people were in the early history of the Church of Jesus Christ of Latter-Day Saints during the time period beginning with the martyrdom of Joseph Smith to the date of film release. In often subtle filming and dialog delivery, he covered Mormon philosophies and teachings in many of the segments and scenes. I remember watching this movie on many Saturday mornings during my youth in the early 1950's. That was just over 10 years after the films release and before the Los Angeles Temple was completed, which I watched being constructed and instilled more curious wonder of who Mormons were. I recently purchased this film and will enjoy the following messages that Hathaway interpreted in his film. 1. Love for all people, regardless of their personal beliefs, 2. Charity to those in need or not, 3. Family is high in importance, 4. Listen respectfully and carefully, because even opposing messages have important points to consider and adopt, 5. Work hard, both individually and in community, 6. Prepare and store for future days of need, 7. Hope is a binding link to a higher being, and for our daily lives, 8. And, that there is a unique quality to any group, and appreciate those that are identified as beneficial.", "label": 1, "domain": "movie_review", "token_count": 322, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0164", "text": "\" Now in India's sunny 'clime, where I use to spend my time as a soldier in the service of her Majesty the queen . . . \" so goes the famous poem penned by Rudyard Kipling. This is the literal foundation upon which the movie \"Gunga Din\" is based. If you are fortunate enough to watch this legendary Classic, you will enjoy films the way they use to make them; for the sheer pleasure. Taken from the script of the established novelist and poet, this is a story of a humble Indian native named Gunga Din (Sam Jaffe) who works as 'a regimental beasty' during the British occupation of India during the 18th century. His greatest wish is to become a soldier. The water boy is part of a British Calvary contingent threatened with death by a notorious blood cult of Kali called the 'Thuggee.' Three particular soldiers stand out in this company who are noted for their bravery and comradeship. First is handsome and debonair, Cary Grant playing Sgt. Archibald Cutter. Next is Victor McLaglen as courageous Sgt. MacChesney and finally there's flamboyant Douglas Fairbanks Jr. as Sgt. Thomas Ballantine. All three and their fellow soldiers are surrounded by a hoard of mountain stranglers led by their fanatical leader called the 'Guru' (Eduardo Ciannelli). Amid the Chaos of war, is the brave water-boy who hopes to earn a place in the army by playing a bugle he found. A solid story for an old black and white film which needs little fanfare for anyone looking to enjoy a classic. ****", "label": 1, "domain": "movie_review", "token_count": 337, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0165", "text": "This film was not only one of John Ford's own personal favorites but also numbered directors Sergei M. Eisenstein and Bertrand Tavernier among its high-profile admirers. Ironically, I've just caught up with it myself via Criterion's recent 2-Disc Set after missing out on a couple of original language screenings of it on Italian TV many years ago and again a few times on TV while in Hollywood! The film marked Ford's first of nine collaborations with Henry Fonda and is also a quintessential example of Ford's folksy Americana vein. A beautifully made and pictorially quite poetic piece of work, the courtroom sequences (and eventual revelation) in its second half still pack quite a wallop, apart from giving stalwart character actor Donald Meek a memorably meaty role as the prosecuting attorney. Fonda is, of course, perfectly cast as a bashful, inexperienced but rigorous and humanistic lawyer who was destined to become President; Fonda would go on to portray other fictitious politicians on film - most notably in Franklin J. Schaffner's THE BEST MAN (1964) and Sidney Lumet's FAIL-SAFE (1964) - and it's surprising now to learn that he was reluctant at the time about accepting the role of Lincoln since, in his view, that was \"like playing God\"! It is interesting to note here that Ford had previously tackled Abraham Lincoln (tangentially) in THE PRISONER OF SHARK ISLAND (1936), a superb but perhaps little-known gem which has, luckily, just been released as a Special Edition DVD by the UK's veritable Criterion stand-in, Eureka's \"Masters Of Cinema\" label. Besides, I also have two more Abraham Lincoln films in my DVD collection which I've yet to watch and, incidentally, both were directed by D. W. Griffith - THE BIRTH OF A NATION (1915) and ABRAHAM LINCOLN (1930) - and, had I not just received a bunch of films I've never watched before just now, I would have gladly given them a spin based on my highly-satisfying viewing experience with YOUNG MR. LINCOLN.", "label": 1, "domain": "movie_review", "token_count": 447, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0166", "text": "`Mad Dog' Earle is back, along with his sad-sack moll Marie, and that fickle clubfoot Velma. So are Babe and Red, Doc and Big Mac, and even the scenery-chewing mutt Pard. The only thing missing is a good reason for remaking Raoul Walsh's High Sierra 14 years later without rethinking a line or a frame, and doing so with talent noticeably a rung or two down the ladder from that in the original. (Instead of Walsh we get Stuart Heisler, for Humphrey Bogart we get Jack Palance, for Ida Lupino Shelley Winters, and so on down through the credits.) The only change is that, this time, instead of black-and-white, it's in Warnercolor; sadly, there are those who would count this an improvement. I Died A Thousand Times may be unnecessary – and inferior – but at least it's not a travesty; the story still works on its own stagy terms. Earle (Palance), fresh out of the pen near Chicago, drives west to spearhead a big job masterminded by ailing kingpin Lon Chaney, Jr. – knocking over a post mountain resort. En route, he almost collides with a family of Oakies, when he's smitten with their granddaughter; the smiting holds even when he discovers she's lame. Arriving at the cabins where the rest of gang holes up, he finds amateurish hotheads at one another's throats as well as Winters, who throws herself at him (as does the pooch). Biding time until they get a call from their inside man at the hotel, Palance (to Winter's chagrin) offers to pay for an operation to cure the girl's deformity, a gesture that backfires. Then, the surgical strike against the resort turns into a bloodbath. On the lam, Palance moves higher into the cold Sierras.... It's an absorbing enough story, competently executed, that lacks the distinctiveness Walsh and his cast brought to it in 1941, the year Bogie, with this role and that of Sam Spade in the Maltese Falcon, became a star. And one last, heretical note: Those mountains do look gorgeous in color.", "label": 1, "domain": "movie_review", "token_count": 474, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0167", "text": "Here I thought \"Nanook of the north\" was the last word in archaic semi-doc 'eskimo' movies. How wrong! As an avid sea-kayaker I stayed up till 330am to watch this hoping to get a glimpse of some hand-made 'skin-boats'. The movie did not let me down. Any student of kayak/umiak construction should have a look-see here. (Note to fellow SKers: they appear to be using Norton Sound kayaks with single blade paddles). But the film went way beyond this admittedly narrow interest. Even though there were as others have noted some little back-shot-fakey-bits the movie has so much heart they are just a minor annoyance. It was (from this very amateur anthropologist's viewpoint) probably the perfect time to make this movie. Early thirties: the 'talkies' are so new that they (including Louie B. Mayer!) actually let the Inuit speak in their own tongue. And there is so much that was still, despite the infused melodrama, authentic. They are really whacking that polar bear, that whale and those caribou. A fifties version of this film would have been so cheesy with 'stars', Technicolor, etc. to gum it up. The seventies version? Don't even. A very good companion piece to this excellent movie is \"White shadows in the south seas\" (1928) Geograpically the mirror image to \"Eskimo\" it also deals with the relentless and profound disruption of Western culture/technology on an unsuspecting people.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0168", "text": "Not a bad word to say about this film really. I wasn't initially impressed by it but it grew on me quickly. I like it a lot and I think its a shame that many people can't see past the fact that it was banned in some territories, mine being one of them. The film delivers in the shock, gore and atmosphere department. The score is a beautiful piece of suspense delivering apparatus. It only seems fair that Chris Young went on to be one of the best composers in the business. The acting in this film is of a somewhat high standard, if a little wooden in some spots, and the effects are very real and gritty. All of this is high praise for a good slasher film in my book. I've noted in some reviews that the film has gotten serious flack having the famous killer's P.O.V shot. And I ask: WHAT'S WRONG WITH THAT??? It is a classic shot that evokes dread into any good fan of the genre and is a great to keep the killer's identity a secret. The only thing that stops this film getting top marks in my book is that the surprise twist(killer revealed) is not handled with more care, I mean it just happens kind of quickly, though the great performances make it just about credible. Aside from that PRANKS is a great movie (though I prefer the original title) and its a shame that so many people knock it off as just a cheap piece of crap. Its more than that, but only few know that as it seems to have gotten lost in the haze of early 80s slasher. What a shame.... Its a really good movie people! Believe me!", "label": 1, "domain": "movie_review", "token_count": 337, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0169", "text": "This remarkable film can be summed up very easily. First of all, while the comparisons to \"Princess Bride\" are inevitable, it's almost futile to do so. While both films combine adult wit and humor with a fairy tale backdrop, \"Stardust\" is so much different than any other fantasy/sci-fi film I've ever seen. It's such a hybrid of those genres, but its plot and script are so unique that--along with the performances, special effects, cinematography, and score--the finished product is simply not all that comparable to anything that has ever appeared on the silver screen. Secondly, the score is very effective at simultaneously pulling us into the story and the fantasy world in which it takes place and pushing the story along, while creating just the right amount of awe and excitement necessary to make the magic believable within the realm where the characters exist. Thirdly, I did not find the film to be even remotely difficult to follow or confusing in any way. In fact, the interesting interplay between the three main subplots actually made it even that much more compelling to watch. Wonderfully casted, and superbly acted across the board. This fantasy adventure (with sci-fi elements) was the best one I've seen since \"Return of the King\" (not that I am comparing the two at all). OK, so its not that easy to sum up, but don't let any crude and/or heartless and cynical review nor the film's pathetic PR prevent you from partaking in the best time you could have at the movies this summer (or even possibly in a long time)!", "label": 1, "domain": "movie_review", "token_count": 325, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0170", "text": "The Flock is unjustly maligned as a lesser \"Se7en\" ripoff. There's really no reason to compare the two, except maybe for the similar scenery in the final showdown. Now that that's out of the way I'll go into why The Flock is very interesting in some respects. Mostly it's a drama piece rather than a full blown thriller about a very vigilant social worker who monitors sexual offenders. At the very beginning you can clearly see his work has got the better of him. Evident in two scenes where first he's interviewing an offender and slaps him around and second when a woman tries to pick him up and all he can think of are his standard questions from his questionnaire. Gere is very good as Errol Babbage, the aforementioned social worker. His way of performing his job is not unlike that of a police officer, he carries a gun and is constantly checking newspapers and supplies law officials with information if some of his \"flock\" may be responsible for a sexual crime. He's also a person who's lost all happiness of living and his only relief seems to come from exacting his own vigilante justice on his flock. Twice you see him smile, once when he's apologizing for treating his partner rudely and the other after he's beaten up a member of his flock. As a suspense flick, The Flock isn't as successful. Somewhat confusing and with some irritating plot holes but it does have a number of striking set pieces. Overall The Flock is a solid drama about a man performing a dehumanizing job and in the end he has to work hard to keep from being swallowed by the abyss he's surrounded himself in. The world we live in is a pretty sick place and the further one can distance himself from the worst the happier that person is. The Flock gets that point across nicely.", "label": 1, "domain": "movie_review", "token_count": 378, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0171", "text": "The movie was gripping from start to finish and its b/w photography of the American heartland is stunning. We feel we are right there with them as they cross the big sky country and then into Mexico and back to America again. Near the end of the movie, the reflection of the rain on Robert Blake looks like small rivers of sweat and tears rolling down his face. In the end, we follow them up the stairway to their final moment. The two criminals, performed by Robert Blake and Scott Wilson, as Perry Smith and Dick Hickock could be seen on any street in any town. Hickock is a smiling boy next door and Smith, the guy with stars in his eyes from the wrong side of town. This point is made in the movie and it always surprises us that criminals are no different in appearance than anyone else. Evil, even the most vile, is part of the human condition. These two delusional men kill an entire family, looking for a safe that isn't there. Once on the run, they start writing bad cheques, carving out a trail for the authorities. There are many fine supporting actors. I like John Forsyth as the detective on the case, Alvin Dewey. Also, Will Geer shines in a brief but excellent scene as the prosecuting attorney. I have often wanted to see this movie all the way through, having only caught it in short snatches; I did finally get to it after buying the DVD. The result is the finest classic crime movie I have ever seen. Don't miss this brilliant movie. To me, this is what great film-making is all about.", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0172", "text": "As you probably already know, Jess Franco is one prolific guy. Hes made hundreds upon hundreds of films, many of which are crap. However, he managed to sneak in an occasionally quality work amongst all the assembly line exploitation. \"Succubus\" isn't his best work (thats either \"The Diabolical Dr. Z\" or \"Vampyros Lesbos\"), but it has many of his trademarks that make it a must for anyone interested in diving into his large catalog. He combines the erotic (alternating between showing full-frontal nudity and leaving somethings left to the imagination) and the surreal seamlessly. This is a very dreamlike film, full of great atmosphere. I particularly liked the constant namedropping. Despite coming off as being incredibly pretentious, its amusing to hear all of Franco's influences. Still, there are many users who don't like \"Succubus\" and I can see where they're coming from. Its leisurely paced, but I can deal with that. More problematic is the incoherency. The script here was obviously rushed, and within five minutes into the film I had absolutely no idea what was going on (and it never really came together from that point on). Those who want some substance with their style, look elsewhere. Also, if its a horror film, it never really becomes scary or even suspenseful. Still, I was entertained by all the psychedelic silliness that I didn't really mind these major flaws all too much. (7/10)", "label": 1, "domain": "movie_review", "token_count": 310, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0173", "text": "Amicus made close to a good half dozen of these horror anthologies in the 70's, and this, from leading horror scribe Robert Bloch, is one of their best efforts. There are four stories, all worthwhile, but two -- \"Sweets For The Sweet\" and \"Method For Murder\" -- distinguish themselves as highly effective journeys into fear. In \"Sweets\", Christopher Lee plays an impatient widower whose lovely daughter (Chloe Franks) becomes resentful of his neglect and brutish intolerance, so she sculpts a voodoo doll with which she expresses her distaste for his methods. Franks is a beautiful figure of mischievous evil and delivers one of the greatest child performances in a horror film since Martin Stephens in \"The Innocents\". This installment is directed with great subtlety and the final outrage, occurring off-screen, is a moment of purest horror. \"Method of Murder\" is about a horror novelist (Denholm Elliott) who is menaced by one of his own creations, the creepy Dominic. This episode is striking for its simplicity and stark terror. Dominic may or may not be real, so director Peter Duffell has a great time playing with our expectations. The brief shots of Dominic reflected in a pond or seen as a fleeting phantasm in a meadow are truly haunting. The original poster art, featuring a skeletal figure clasping a tray holding Peter Cushing's severed head, was a rich enticement for punters fixed on fear.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0174", "text": "Perhaps the last film you would expect to come from Vittorio de Sica and Cesare Zavattini (who wrote the novel on which this film is based). It's a neorealist fantasy, kind of an oxymoron, really. An old woman finds a baby in her cabbage patch and raises him as her own son. After a few years, the baby is a young boy (named Toto) and the adoptive mother is dying. He goes to an orphanage and, when he finally turns 18, he leaves. Immediately, he finds that he has no home. Toto is optimistic, though, and won't let anything get him down. A man steals his valise, and instead of getting angry over it, Toto becomes his friend and goes and stays with him in a small shantytown. Toto takes some initiative and organizes the many homeless living in the area and they build a better shantytown. Soon, the landowner is trying to sell this plot of land, and the citizens of the shantytown have to protect themselves. After many attempts, the owner mounts a force of police to get rid of the homeless. At this point, the film becomes full-fledged fantasy (before this it was more comedic/fantastic melodrama in the style of Charlie Chaplin). This stuff is so weird and shocking that it's probably best for others to see it for themselves. It's quite amazing, and very funny. There are objections you could raise about the plot of Miracle in Milan, most certainly. Fellini and Visconti were greatly criticized when they started to stray from Neorealism. I think I read this was widely criticized at the time of its release. At this point, though, it's so enjoyable - I loved it very much. It might be my favorite of Vittorio de Sica's films, although Umberto D and The Bicycle Thieves come very, very close. 10/10.", "label": 1, "domain": "movie_review", "token_count": 405, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0175", "text": "In this film, made JUST as the production code was being enforced, Jean Harlow is Eadie, and Patsy Kelly is the wisecracking, man-chasing sidekick \"Kitty\". Girl from Missouri starts out with the girls getting on a train, with Eadie making a promise to herself to earn money while looking for a millionaire husband, staying whole-some in the process. It doesn't take her long to meet up with Frank Cousins, (Lewis Stone, was the kindly Doctor in Grand Hotel, as well as Judge Hardy in the \"Andy Hardy\" films.), but all is not as it seems...The censors must have LOVED Harlow's line \"A girl couldn't accept an expensive gift like that from a gentleman unless she was engaged.\" Later, someone says \"You know we've never been alone together\" and Eadie replies \"Yeah, and we're not going to be!\" Lionel Barrymore is T.R. Paige, another rich, uppercrust who comes to her rescue when trouble comes looking for Eadie. At one point, Paige declares \"You oughta scratch me off your list - I'm not a ladies man\".... I wonder what that line would have been just a couple years earlier before the Hayes code came rolling into town. What was he really saying? Carol Tevis seems to be the high-pitched \"Baby Talker\" as listed in the credits on IMDb. Looks like she was only in showbiz from 1931 - 1939, with \"Munchkin\" in Wizard of Oz being the last part she played. Fun, cleancut romp as the girls chase men around the country. Look for Nat Pendleton as the lifeguard, who was an Olympic Wrestler 1920 (silver medal winner) turned film star (he was in many of the Dr. Kildares, and would appear in four of Harlow's films.) Mistaken identity, plot twists, a young Franchot Tone, love stories, even Jean Harlow in a bathing suit in \"Palm Beach\", although the outdoor scenes of downtown appear to be a backdrop.", "label": 1, "domain": "movie_review", "token_count": 437, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0176", "text": "This is a CGI animated film based upon a French 2D animated series. The series ran briefly on Cartoon Network, but its run was so brief that its inclusion as one of the potential Oscar nominees for best animated film for this year left most people I know going \"Huh?\" This is the story of Lian-Chu, the kind heart muscle, and Gwizdo, the brains of the operation, who along with Hector their fire farting dragon,he's more like a dog. Travel the world offering up their services as dragon hunters but never getting paid. Into their lives comes Zoe, the fairy tale loving niece of a king who is going blind. It seems the world is being devoured by a huge monster and all of the knights the king has sent out have never returned or if the do return they come back as ashes. In desperation the king hires the dragon hunters to stop the world eater. Zoe of course tags along... What can I say other then why is this film hiding under a rock? This is a really good little film that is completely off the radar except as unlikely Oscar contender. Its a beautifully designed, fantastic looking film (The world it takes place has floating lands and crazy creatures) that constantly had me going \"Wow\" at it. The English Voice cast with Forrest Whitaker as Lian-Chu (one of the best vocal performances I've ever heard) and Rob Paulson as Gwizdo (think Steve Bucsemi) is first rate. Equally great is the script which doesn't talk down to its audience, using some real expressions not normally heard in animated films (not Disney nor Pixar). Its all really well done. Is it perfect? No, some of the bits go on too long, but at the same time its is damn entertaining. If you get the chance see this. Its one of the better animated films from 2008, and is going on my nice surprise list for 2009.", "label": 1, "domain": "movie_review", "token_count": 397, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0177", "text": "One of the better kung fu movies, but not quite as flawless as I had hoped given the glowing reviews. The movie starts out well enough, with the jokes being visual enough that they translate the language barrier (which is rarer than you'd think for this era) and make the non-fight dialogue sequences passable (for a kung fu movie, this is a great compliment). Unlike other Chinese action movies, which were always period pieces or (in the wake of Jackie Chan's Police Story I) cop dramas, Pedicab Driver gives us a look at contemporary rural China. Unfortunately, in the latter 1/3 of the movie it takes a nosedive into dark melodrama tragedy which I thought was unnecessary. The action is overall good, featuring a duel between Sammo and 1/2 of the Shaw Brothers' only 2 stars, Kar-Leung Lau and then a fight at the end with that taller guy who always plays Jet Li's bad guy. There's only 20 minutes of combat here, which is standard, but what annoys me is the obvious speeding up of the camera frames. I get that they have to film half speed to avoid hurting each other, but there are smooth edits and then there's this. It really takes away from the fights when it's this obvious the footage was messed with. That said, if you like kung fu movies, my opinion here won't dissuade you, and if you don't, you just wasted 2 minutes of your life reading this.", "label": 1, "domain": "movie_review", "token_count": 311, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0178", "text": "This movie works because it feels so genuine. The story is simple and realistic, perfectly capturing the joys and anxieties of adolescent love and sexuality that most/all of us experienced during our teen years. The actors are as natural as figures in a documentary but are as convincing and as charismatic as seasoned performers. The dialogue is fresh and honest... and thankfully not filled to the brim with cutesy pop culture references. Also, the cinematography is at once gritty and beautiful, bringing the Lower East Side setting to life in a very tangible way. On an artistic level, I love this movie because it reminds me of great Italian neo-realism films like The Bicycle Thief and La Strada. Movies rarely feel as \"real\" as this does ... or as Bicycle Thief did. And the only other movie I've seen that treats teen sexuality with the same level of seriousness is Elia Kazan's Splendor in the Grass. Writer/director Peter Sollett deserves tremendous praise. This film is quite an achievement. On a personal level, I am always glad to see a movie that treats members of ethnic America with love and respect. As an Italian-American, I hate the way my own people come off in the cinema (as racist, womanizing, criminal geniuses in irritatingly popular epics), and my aggravation on this count makes me acutely sensitive to other groups and their awful silver screen representations. Hispanics and Asians in particular seem cursed to playing villains in Westerns and action movies. (Good thing Gong Li didn't try to become famous in America!) Of course, thanks largely to the rise of indie pictures, and the influence of Miramax, we are seeing a few more pictures about ethnic characters here and there ... but Raising Victor Vargas is easily one of the best. While I do really like My Big Fat Greek Wedding, it is a refreshing change that Raising Victor Vargas is played straight (with less exaggerated and broadly-drawn characters) while still being very funny in its own right. Finally! Latino characters worthy of note. I have a feeling that this is a film that will be remembered. Of course, now that he has made this wonderful picture about a family from the Dominican Republic, I hope Peter Sollett gets around to making a movie about Italians soon! :) - Marc DiPaolo", "label": 1, "domain": "movie_review", "token_count": 467, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0179", "text": "The first time I had the window of opportunity to see this all but forgotten classic was back in the early 1980's,at one of our art houses as a revival. As I watched this fever dream of an exercise in 1930's sexuality, I thought YOWZA! They got away with murder in Europe back in the day. Unfortunately, this film was heavily cut in it's original U.S. release by the blue nosed Hayes Office (the staunch government censorship board,started by the \"holier than thou\" Bible thumper, Will Hayes...a former Post Office official,if you can believe that),due to it's overall theme of human sexuality (Heaven's forbid humans actually had sex in the 1930's). The plot of Ecstasy concerns a young woman (played by Hedy Lamarr)who marries a much older man,and later regrets it. She (Lamarr)meets a handsome younger man & has an affair with him, resulting in a divorce from previous husband (another no no in Hollywood movies back then---Divorce!). Despite the fact that the film was produced in 1933, it was probably the director's first time working in the sound format (i.e. the film seems to possess techniques that were used mostly in silent films---i.e. 1920's expressionism's). It's still worth searching out for a window into early European talking pictures,along with Luis Bunuels L'Age Dor (1930),and Karl Gustav Dryer's 'Vampyre' (1931). Not rated,but contains that infamous nude swimming scene & some thinly veiled sexual references, which would fare little more than a PG-13 by today's standards (but would have easily landed the dreaded 'X',back in the 30's,if it existed then)", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0180", "text": "- SMALL SPOILER HEREIN! - When I looked at the votes for \"Creep\" today, I was surprised about so many IMDb-users rating this movie \"1\". I am wondering: what do people expect of such kind of movie? Are there so many people watching a movie without knowing anything about it? \"Creep\" is a HORROR movie and it is a pretty good one! This automatically means: it has a absurd story full of holes, outrageous hazards and simple one-side-characters. So why complain about it? Just take some popcorn and coke, make yourself comfortable in your seat and then... ...enjoy to be scared to death! The first 60 minutes when there is almost nothing else than Kate and a lonely subway station are incredibly scaring. There is suspense and fear in every corner of the screen and you will give some jerks just because of a sudden sound of a blinking neon lamp in the back of you. (In my opinion the sound editor did the best job in this movie.) When Kate meet her pursuer the quality of the movie drops but it still doesn't become a bad movie. The second part of the movie is not scary at all, but the gore effects are well done and the story is quite well developed. (...as long as you keep in mind that it is a horror movie you are watching and not the Discovery Channel!) So, if you want to make yourself a very, very scaring hour. Just watch the first hour of \"Creep\" and then leave the cinema or turn of your TV. You know the rest of the story anyway, don't you? The bad guy will die and Kate will be the only survivor. But even if you watch this movie up to its end, you will not be disappointed. ...and if you want to push anxiety to the next level, do what I did after watching this movie: leave the cinema by dark night, go to the next subway station and take the last train home...", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0181", "text": "La Coda Dello Scorpione (a.k.a. Case of the Scorpion's Tail) was director Sergio Martino's follow-up to the wonderful giallo Strano vizio della Signora Wardh. This is the quintessential giallo, featuring all the aspects fans of the genre have come to know and love. Twisty plot, beautiful girls, black gloves, sharp blades, and a bit of gore all come together to make one heck of a piece of Italian exploitation. A group of gialli favorites, both in front of and behind the camera, work to make this one of the best non-Argento gialli around. There's the aforementioned Martino adding his touches as director, giallo great Ernesto Gastaldi as the writer, Bruno Nicolai creating the music, and a host of giallo stars and starlets, such as George Hilton, character actor Luigi Pistilli, and the fetching Anita Strindberg. With all this talent behind it, does Scorpione deliver? You bet. The film works on many different levels. It's a thrilling murder mystery, a tense and violent horror film, and a suspenseful thriller. All in all one of the best gialli around. Martino definitely knows what fans want when it comes to gialli. At some points in the film, he almost seems to be channeling Argento in his approach. For example, there is a direct rip-off of the scene in Bird With the Crystal Plumage where the killer tries to break through the door, that actually outdoes Argento's flick. Are there any problems with the flick? Hmmm... only minor ones. First, any scenes that aren't following the murders or the budding romance between the two leads begin to bore. But just before you fall asleep, the killer will pop out of nowhere and you'll be right back in the swing of things. Also, towards the end, the twists get a little too bizarre. I mean, what purpose did the scorpion pins really serve? If you don't play close attention to the dialogue, you could easily become lost with the twisting, weaving storyline. But these minor quibbles aside, La Coda Dello Scorpione is a tense, suspenseful, classy and all around entertaining film for giallo fans. Seek it out!", "label": 1, "domain": "movie_review", "token_count": 478, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0182", "text": "Greetings again from the darkness. Much anticipated, twisted comedy from writer/director Richard Shepard is a coming out party for Pierce Brosnan the actor. That Bond guy is gone. This new guy is something else entirely!! Have read that Shepard thought Brosnan was too much the pretty boy for this plum role, but Brosnan proves to be the perfect Julian Noble, \"Facilitator\" ... and is anything but pretty! Do not underestimate how twisted the humor is in this one. If you go, expect punch lines and sight gags regarding all types of sex, killing, religion, sports, business and anything else you might deem politically incorrect. Brosnan takes an excellent script to another level with his marvelous facial gestures and physical movements. Even sitting on a hotel bed (with or without a sombrero) is a joy to behold. Greg Kinnear is the straight guy to Brosnan's comic and has plenty of depth and comic timing to make this partnership click. Hope Davis has a small, but subtly effective supporting role as Kinnear's wife (what's with her name \"Bean\"?) who happens to get a little excited when she has a facilitator in her living room. The visuals and settings are perfect - including a bullfight, racetrack and Denver suburb. And how often do we get The Killers and Xavier Cugat on the same soundtrack? This one is definitely not for everyone, but if your sense of humor is a bit off center and you enjoy risky film-making, it could be for you.", "label": 1, "domain": "movie_review", "token_count": 309, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0183", "text": "The 14 year-old in me is immensely happy that they're now able to make really good looking fantasy movies, and that they're all the rage, what with Lord of the Rings, Harry Potter and The Chronicles of Narnia making loads of cash at the box office. This year will see (and already has seen) several more, most notably The Golden Compass, which has the most exciting trailer I've seen this year. Stardust, based on a novel by Neil Gaiman, showed up in theaters this week with little more than a peep. I saw no previews for it, only a couple of commercials. The critical reaction is kind of blah. I wouldn't even have seen it if not for the fact that I have to wait on a friend to see The Bourne Ultimatum, and that nothing else interesting opened this weekend. Well, if you'll forgive the horrible pun, the stars must have been rightly aligned, because I went to see Stardust, and I loved it. It's not a huge movie like Lord of the Rings. The plot line is your very basic fantasy quest (the hero sets out to look for a fallen star) filled with obstacles. But within that basic outline, the story is lively and imaginative. It's simply aiming to be a lot of fun, and a charming little romance. And it succeeds wonderfully. There were a lot of big films this summer, but none of them were nearly as fun as this one. There's a lot going on, but the story is told well and is almost entirely coherent. It isn't a masterpiece, but it definitely can occupy the same kind of ground that something like The Princess Bride has (though I don't like it quite as much as the earlier film). A lot of fun to be had here if you're a fan of the genre.", "label": 1, "domain": "movie_review", "token_count": 372, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0184", "text": "Having developed a critical eye for film, and a love for good cinema, I went to see Antwone Fisher with my breath symbolically held. While I am an unabashed fan of Denzel Washington - both of his skill as an actor and of his public persona; I am an honest enough fan to admit the (very few) times when he hasn't quite hit the mark in a film or two. And I could be wrong about those - after all, I am not an actor. But this was different - Denzel would pour his career's experience into, and guide, a film handling one of the most sensitive topics known to man - the abuse of a child. As his directorial debut, no less. And develop the film to point that it would successfully present the triumph of a man. I didn't want to be disappointed. And I wasn't. What I did see is a film full of promise that connected diverse audiences, and gave the inexperienced viewer a brief, but truthful eye into the life of a young man whose childhood was a living hell, but who triumphed despite it all. This film did it - and nary a dry eye of any color in the theatre proved it. It takes someone to know the topics in this film to know when truth is presented. It takes a talented filmmaker to tell you the story convincingly when you haven't experienced it. And if he can further draw an audience in, and cause an audience to emotionally respond, without pity, the filmmaker has done his job. In any film. Black, white, purple or polka dotted. That is what makes good cinema. Bravo, Denzel Washington, Derek Luke, Joy Bryant and most of all, Antwone Fisher - you have indeed won.", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0185", "text": "This is one of the greatest love story movies I have ever seen. Yes, I can agree that some parts may seem dated, but this does not distract from the film. One should try to observe, criticize and enjoy any art form from the perspective of the time. Clearly by the \"Sex in the City\" standards, Charlie Chaplin was horribly boring. However, when judged from the prospective of 1925 America, he was fantastic. Likewise Sayonara is a breakthrough film in its look into a mixed-race love affair, American \"manifest destiny\" arrogance and prejudice, and the complexity of different cultures. It is a natural next step to such films as Gentleman's Agreement. Its purpose, however, was not just social commentary, rather, it is entertaining and enjoyable, with innumerable lines that one just doesn't forget. However, even when taken only as a love story, it is terrific. Although, some attack Brando's accent, he is at his near best in nuance and characterization. Buttons and Umeki (who both won Oscars) and the rest of the supporting cast add much to the film. Taka, the real star, does a fabulous job making you feel the passion she has for Brando, while being torn by her sense of obligation and loyalty. Her speech when she first meets and speaks with Brando is a classic and something rarely if ever matched in cinema. The dialog between Taka and Brando in her dressing room in Tokyo at the film's end is equally good. Of course, it doesn't have the mouth-sucking, spit-swapping and worse, that exemplifies love in today's movies, but that makes it all the better. It portrays true love and passion, and not just \"heat.\" If this movie doesn't touch you, then you are just too young, too cynical or dead.", "label": 1, "domain": "movie_review", "token_count": 376, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0186", "text": "Marjorie (a splendid and riveting performance by Farrah Fawcett) narrowly avoids being assaulted in her car by vicious serial rapist Joe (superbly played with frightening conviction and intensity by James Russo). However, Joe steals her wallet and finds out where Marjorie lives. He pays her a visit one fateful day. After subjecting Marjorie to plenty of degradation and psychological abuse, Marjorie manages to turn the tables on Joe and locks him in the fireplace. What is Marjorie going to do with Joe? Director Robert M. Young and screenwriter William Mastrosimone concoct a harsh, gritty and often disturbing morality tale that astutely nails the stark brutality and painful debasement of rape while also showing how any person when pushed to extremes is capable of shocking acts of violence and inhumanity. Joe perceives women strictly as objects while Marjorie only sees Joe as an \"animal.\" However, this movie to its admirable credit refuses to make Joe out to be simply a vile one-dimensional creep; instead he's a terrifyingly real and ultimately pitiable human monster with a wife and kid (Joe's climactic confession in particular is genuinely poignant). Fawcett and Russo are both outstanding in the leads; they receive fine support from Diana Scarwid as the passive Terry, Alfre Woodard as the sensible Patricia, and Sandy Martin as sympathetic policewoman Officer Sudow. Both Curtis Clark's agile cinematography and J.A.C. Redford's shivery, skin-crawling score greatly enhance the considerable claustrophobic tension. A real powerhouse.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0187", "text": "I always have a bit of distrust before watching the British period films because I usually find on them insipid and boring screenplays (such as the ones of, for example, Vanity Fair or The Other Boleyn Girl), but with a magnificent production design, European landscapes and those thick British accents which make the movies to suggest artistic value which they do not really have.Fortunately, the excellent film The Young Victoria does not fall on that situation, and it deserves an enthusiastic recommendation because of its fascinating story, the excellent performances from Emily Blunt, Paul Bettany and Jim Broadbent, and the costumes and locations which unexpectedly make the movie pretty rich to the view.And I say \"unexpectedly\" because I usually do not pay too much attention to those details. \"Victorian era\" was (in my humble opinion) one of the key points in contemporary civilization, and not only on the social aspect, but also in the scientific, artistic and cultural ones.But I honestly did not know about the origins from that era very much, and maybe because of that I enjoyed this simplification of the political and economic events which prepared the landing of modern era so much.I also liked the way in which Queen Victoria is portrayed, which is as a young and intelligent monarch whose decisions were not always good, but they were at least inspired by good intentions.I also found the depiction of the romance between Victoria and Prince Albert very interesting because it is equally interested in the combination of intellects as well as in the emotions it evokes.The only fail I found on this movie is that screenwriter Julian Fellowes used some clichés of the romantic cinema on the love story, something which feels a bit out of place on his screenplay. I liked The Young Victoria very much, and I really took a very nice surprise with it.I hope more period films follow the example of this movie: the costumes and the landscapes should work as the support of an interesting story, and not as the replacement of it.", "label": 1, "domain": "movie_review", "token_count": 398, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0188", "text": "Inspired at least a little by Ivy Benson & Her All Girls Orchestra, who performed throughout the war years at the Covent Garden Opera house, this film chronicles the attempts by an elderly saxophone player to reform the (almost) all girl band with whom she played as a schoolgirl towards the end of WWII. All too brief flashbacks to the original band on stage bring us some wonderful music, and help to fill in the background to the band members, and in particular to the girls' relationships with the lone male member - their transvestite drummer (who is trying to dodge the call-up). Ian Holm (\"Lord of The Rings\", \"Cromwell and Fairfax\") and Judi Dench turn in superb leading performances as the recently widowed Elizabeth, and the conniving, womanizing Patrick, the drummer. The late Joan Sims is perfect as the band's leader, now playing bar piano at the sea-side, and June Whitfield glows as the Salvation Army trombone player. Cameo appearances by other greats like Cleo Laine, Leslie Caron, Olympia Dukakis and Billie Whitelaw make this an unforgettable experience. The movie is a romp down memory lane, with an all star cast of what ought, by all rights, to be a bunch of over-the-hill actresses. All I can say is, I hope I look as good at their age! Leslie Caron, in particular, is still an incredible fox, at 69 years of age. She certainly still gets my pulse going! As I watched it, I was mentally berating the casting director for not using women of the appropriate age. Afterwards, I looked these girls up, and discovered that every one of them is old enough to have been performing in the London of 1944 (although this might be a bit of a stretch for Judi Dench). If you like swing bands, thrive on nostalgia, or just want to see how good a woman can manage look with almost three quarters of a century behind her, don't miss this film.", "label": 1, "domain": "movie_review", "token_count": 417, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0189", "text": "This is where the term \"classic film\" comes from. This is a wonderful story of a woman's bravery, courage and extreme loyalty. Poor Olan got sold to her uncaring husband, who through the years learned to appreciate her. (Yeah right, A PEARL!!) Luise Rainer was the beautiful star who had won the Best Actress Oscar the year before for her small role (and what a waste of an oscar) in \"The Great Zigfield\". It really didn't show what, if any, talent she had other than her exotic beauty. But in \"Good Earth\" she shows that she can really act! Her beauty was erased and she had no great costumes either. People say that she didn't show any real emotions in this film. Like hell. Her character Olan is a shy and timid woman, with inner strength. She is quiet during parts of the film with only her eyes and body to convey her emotions. Example: those scenes during the fall of the city and when looters were being shot. If you people are saying that she doesn't act well in this film, you are NOT looking! Paul Muni shows that he can act as well. His character is not a likeable one to me. He never sees her for what she is, until the very end of the story. A sweet loving and dedicated wife and mother, with her own special beauty. The greatest one of all, the beauty from within, like a pearl. If you get a chance to see this film, watch it. You will see one of the best films that the golden age of Hollywood created.", "label": 1, "domain": "movie_review", "token_count": 329, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0190", "text": "'Soapdish' is one of the best, yet least well remembered comedies of the 1990's. The film revolves around the various off-camera drama's that occur behind the scenes of a cheaply produced Daytime Soap Opera. The first of the film's various impressive strengths is it's fantastic A-List cast. 'Soapdish' features some of the greatest actors and actresses of it's era. The film is superbly led by Sally Field, as the neurotic ageing actress Celeste Talbert (She famously throws a tantrum when put in a costume that makes her look like \"Gloria F*CKING Swanson!\"). Her supporting cast reads like a who's-who of 90's Movie Greats! Whoopi Goldberg, Robert Downey Jr, Teri Hatcher, Kevin Kline and Kathy Najimy all elevate the film greatly. Goldberg is predictably excellent, whilst Downey Jr.'s and Hatcher's performances hint at the comedic excellence they would later achieve. In terms of writing, the film is outstanding. There is a really modern edge to the script, which strays into the wonderfully bizarre on several occasions. There also several visual gags that are quite ahead of their time. In some ways, the film is reminiscent of Mel Brooks at his best and frequently reminded this reviewer of 'High Anxiety' (1977). Much of the film's humour hinges on it's often scathing, but pretty accurate, representations of daytime television and of neurotic and pretentious actors. For example, The extras casting session featuring the exploitative executive played by Carrie Fisher, is both hilarious and honest. 'Soapdish' is, for my money, one of the very best comedies Hollywood produced during the 1990's. It's excellent script and A-Class cast make it a must-see. It's hard not to love this film after it's kept you laughing for 90 minutes.", "label": 1, "domain": "movie_review", "token_count": 393, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0191", "text": "The Sunshine Boys is one of my favorite feel good movies. I first saw it when it as the Christmas attraction at Radio City Music Hall when it first came out and loved it ever since. I ended up seeing it 6 times in the theaters, and if it was playing today I'd go out to see it again. Now a lot of the reviews here mentioned the wonderful performances of the leads. Matthau was brilliant, but had the misfortune of being nominated against Jack Nicholson's Oscar winning performance of Randall P. MacMurphy in \"One Flew Over the Cuckoo's nest. Burns did win, though Richard Benjiman deserved at least to be nominated as well. Even the smallest roles were played to perfection, like Fritz Feld auditioning for the potato chips commercial. Which brings me to my reason for reviewing this film, the direction of the greatly underrated Herbert Ross. Ross who previously brought a two person play, \"The Owl And The Pussycat\" to the screen and made a full movie out of it, does it again. He opens the plays out without making them look like a photographic stage play. He fleashens out the story and the characters. Here we're 20 minutes into the film before we get to the scene that opens the play, where Ben Clark comes to see his uncle and tell him about the comedy special. Though there are dialogue from the play during the first twenty minutes, the sequence itself is totally new. A few years ago I did see at the broadway revival of the play with Jack Klugman and Tony Randall, which was wonderful. But I think that Ross and screenwriter, playwright Simon improved on it. It's just a wonderful film.", "label": 1, "domain": "movie_review", "token_count": 345, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0192", "text": "I admit not being that fond of Oliver! as a young child--it's long, and the story is a little slow-moving because of all the musical numbers. As a teenager I discovered that the fun of this movie is the experience itself. Rather than thinking of it as an adaptation of Oliver Twist, think of it as a celebration of the classic story. The adaptation is loose at best, but really, if you're watching a musical, you ain't there for the story. The music is the core of this movie, and an overwhelming majority of it is stellar and very catchy. Most or all of the cast was involved in the stage version of the musical, and it shows in their performances--and I consider this a plus. The performances are all in a more \"stagey\" style of acting typical of much older films, and they are very entertaining. The exception is the kid playing Oliver, whose job seemed to be to look cute and stay out of the real performers' way. Fagin and the Dodger are the real stars of this movie. Oliver Reed also does a fantastic job maintaining an intimidating screen presence as the menacing Bill Sykes. Even Sykes' dog Bullseye puts on a good performance. This movie isn't for everyone. People who hate musicals will despise it, as will those who take musicals too seriously. Nitpicking over faulty historical details or mistaking exaggerated stage-type acting for bad acting will ruin anyone's enjoyment. Just sit back and enjoy the entertainment--it's much better if you remember that, as a musical, it's a fantasy loosely organized around the book, not a strict adaptation.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0193", "text": "We toss around the term \"superstar\" way too lightly these days, but here's one guy that truly deserves it. I was glued to the set this entire show. The song selection was perfect -- it only contained the songs I actually wanted to hear and cut in with documentary footage during the weaker new songs. I loved that the band was just a five guys on stage in a very minimalist environment. (With songs of this strength, you don't need a circus to be entertained). The shots of the crowd were amazing, too. How many performers can affect the original Beatles fans (now in their 50's and beyond), get young kids to jump up at the opening lines of \"Can't Buy Me Love\" and impact everyone in between? While watching, I also realized that in the wake of John Lennon's tragic death, Paul McCartney instantly became an afterthought. Paul not only lost John and George (no matter what their final relations were, it must be hard to lose someone with whom you changed the world), but he also lost his wife Linda and never really seemed to garner the acknowledgment Lennon's murder received. I agree that Lennon's murder was horrible, but only now did I realize that Paul was sort of forgotten in the aftermath. I was very happy that he's found love again in Heather. As for those complaining about the audio/video quality, I had no complaints whatsoever; both were crystal clear on my set. I think these same people will complain about the quality of DVD when the next format comes out; they'll never be satisfied. My only regret was not buying a ticket to this show when I had the chance. Thanks to this video I was able to enjoy it. When people remember John Lennon, they will first remember his murder and then his music. I now have a new appreciation for Paul McCartney, because, if nothing else, he will be remembered for his music first. And let's hope another lunatic won't change this, because the McCartney catalog is pretty good.", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0194", "text": "I have seen several comments here about Brando using a Southern accent, some of which felt it was a mistake. When this movie was made, racism and discrimination were very strong in the South. The Jim Crow laws were still in effect. Civil Rights was in it's infancy. Could this have possibly been a subtle social commentary, a Southern man in love with a woman of another race? The same way MASH was a subtle criticism of the Viet Nam war? Any thoughts? Another comment was made about Myoshi Umeki appearing \"cold\". Anyone who has been in Japan would understand. The Japanese people, at least in my experience, did not tend to show emotion in front of strangers. There were strict social rules, especially for men meeting single women. Americans in Japan were totally foreign to this culture, and the blunt attempts to meet women were shocking to the ladies. One trait of the Japanese was to smile when embarrassed or uncomfortable, which many American servicemen took as a sign that their advances were welcomed. Also remember that at the time represented in the movie, Japan had just been defeated, and the occupying forces were treated with reluctant acceptance. I think Myoshi Umeki gave a very credible performance of what her situation would have been. Watching her interaction with the American actors brought back several memories of my own experiences in the country. I was able to meet a pair of lovely young ladies who, after I convinced them I was not the typical American male, taught me their language and their culture during my time in their country.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0195", "text": "The movie shocked me. Personally i had herd mostly bad buzz. Well finally after owning the DVD for months now i pooped it in on a sleepless night. though the movie did drag the extra footage was used with purpose the seriousness of his passion and his recovery from addition to the game would have been less realistic if they had left out any scenes. The best thing about the movie is it's consistency with the relationship. There were no ex's popping up or characters threatening the relationship. I mean typically we see the girl meets boy by some amazing twist of fate,they date,something we saw coming breaks them up up and then they get back together in the last five minutes of the movie. but this movie did not follow that mold. We actually experienced the relationship and it's flaws and though the characters did have there moments of anti-love they did not have dramatic pauses were they went off and did a montage every 15 and then reunite in love again. i did not feel the movie was as predictable as the rest of the romance movies. The story was unique and truthful to reality in the way that i felt these people in the film were the most believable that i have seen in a romance film from modern times.And it did not hurt that all the baseball games were real and they were at the actual world series so fate kicked in a little there also. It's no \"My fair lady\" but it is a spirited and honest film. I'll simply say i like it.", "label": 1, "domain": "movie_review", "token_count": 300, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0196", "text": "This unassuming, fairly routine series deserves credit in the TV history books for two reasons: it was the first to win an Emmy award for best syndicated series, and it was the very first show to come from the fabled studios of Republic Pictures, known for its low-budget but high-powered shoot-em-ups in the 30's and 40's. Republic was one of the first Hollywood studios to make a leap into the small screen, which was still in its infancy. But the studios' tenure as producer of TV pulp fiction would be brief. After this show, they would later dabble with the other format that they were known for, the adventure serial, with \"Commando Cody\", as well as other series, but like this one, they didn't last longer than 39 episodes. Also, Republic was in its last stages as a studio; it would finish out its tenure in Hollywood as rental stages for several Revue Studio series such as \"Soldiers of Fortune\", the original \"Dragnet\", and \"Kit Carson\", before finally shutting its doors in 1959. Anyway, \"Stories of the Century\" wasn't that bad of an oater, its calling card was tales based on authentic figures in Western history, mainly outlaws like Black Bart, Johnny Ringo, John Wesley Hardin, The Dalton Bros. and the like. The late Jim Davis, best known for his role as the Ewing patriarch in \"Dallas\", put in an amiable job in the lead role as Matt Clark, a fictional railroad detective who has to contend with said outlaws, played by veteran and soon-to-be veteran character actors. Two amazing facts here: The incidents would take place in different time lines, some in the 1880's, some at the turn of the century, but Clark never ages. And also, Matt has the good luck to saddle himself with two lovely female detectives as sidekicks, Frankie Adams, played by Mary Castle, and her replacement, Margaret \"Jonesy\" Jones, by Kristine Miller. The Lone Ranger could only wish for lady companionship. You can only spend such time with Tonto for so long. \"Stories Of The Century\" is a Studio City TV production from Republic Pictures Corp. 39 episodes were made during 1954, all 39 of which are in public domain and on DVD.", "label": 1, "domain": "movie_review", "token_count": 475, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0197", "text": "I'm not a follower of a certain movie genre. I classify movies only as industrial or non-industrial. Valentine is the second industrial movie of the director Jamie Blanks, after his Urban Legends. Unlike Urban Legends the screenplay and the story line is very weak. Yet again unlike Urban Legends the basic elements of the movie is so dashing and iconic, and that is what makes Valentine the best. As the first basic and iconic element, the growing hatred of the serial killer is so down-to-earth. Since his secondary school years, he has grown up with his wounds he had accumulated in his soul against his classmate girlfriends, who have made fun of him. When you concentrate enough on this first element while watching the movie, you will come to see this point of view of Humanism: \"Noone is entirely good or evil. In fact, somebody known as evil can be secretly kind hearted.\" Just because the story line and the direction is very weak, we are not as satisfied as we deserved. The second iconic element is, of course, the magnificent togetherness of the late 90s' super starlets: My favourite is Jessica Cauffiel who is killed within the coolest way to be killed. An arrow shot from a bow broaches her tummy and stays stuck in, while she was playing hide-and-seek with her blind date, never able to met with. Katherine Heigl is the first starlet getting killed in a biology laboratory while trying to hide under human body models lying on the surgical operation tables. Denise Richards is killed third, while she just found a Valentines' Day gift for her at a whirlpool bath. Jessica Capshaw is killed last in a confidential and unseen way, then she is calumniated to be as the serial killer. Marley Shelton is the unluckiest one with a vicissitude of fortune that she is going to be killed within the most confidential way that we will never know, 'cause the movie is coming to an end before she is getting killed. Finally, Benita Ha is the luckiest one since she was not a classmate of the serial killer, David Boreanaz. The third and the last iconic element is the soundtrack from the blind date labyrinth scene, the Valentines' Day celebration at Dorothy's house scenes and ultimately the killing themes. Everybody has loved the soundtrack as far as I know. Hard Rock never suits better within a serial killer-mystery movie.", "label": 1, "domain": "movie_review", "token_count": 497, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0198", "text": "For the longest time, I liked this movie better than the original Care Bears movie. Well last summer, I watched them both together and decided I was wrong. The first one is a better Care Bears movie (as you may have guessed if you read my review for it). This one isn't a BAD movie, it's just... VERY STRANGE. Well first of all, as a few people have mentioned, it completely disavows any knowledge of the first movie. I can't think of another sequel that contradicts the original so blatantly (especially with the genders of some characters and how they all met). When I was little and watching this, I was quite a bit confused and distraught. I felt the same way watching it as an adult! On to the reasons why the movie is actually pretty good (IF you disassociate it from the first movie). I can't think of another movie for little kids with a DEMON as it's villan! Now I am not for a minute suggesting that evil demons who want to steal the souls of campers and Care Bears are good, I just find it cool that there's a SUPREMELY EVIL BEING in a movie for little kids! It's like that bizzare \"Santa Clause vs. Satan\" movie from Mexico you hear about sometimes. Anyhow, the demon's name is Darkheart and he wants this chick to help him get the Care Bears in return for him giving her special powers. Very dark for a kiddy flick eh? And did I mention that Darkheart appears to the girl most often as a WHINEY VOICED 10 YEAR OLD BOY??? Freaky! Meanwhile some other kids are in Care-a-Lot looking after BABY CARE BEARS! Oh, man! Demons and baby Care Bears IN THE SAME MOVIE!!!!! Needless to say, everything gets cleared up in the end (but not before we get to see Darkheart trap the Care Bears' souls in this scary chandelere thing in one [surprisingly] deeply disturbing scene). But I am left with the question of wether this movie has found the cult audience it so richly deserves. I might just watch it again myself.", "label": 1, "domain": "movie_review", "token_count": 444, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0199", "text": "In 1958, Clarksberg was a famous speed trap town. Much revenue was generated by the Sheriff's Department catching speeders. The ones who tried to outrun the Sheriff? Well, that gave the Sheriff a chance to push them off the Clarksberg Curve with his Plymouth cruiser. For example, in the beginning of the movie, a couple of servicemen on leave trying to get back to base on time are pushed off to their deaths, if I recall correctly. Then one day, a stranger drove into town. Possibly the coolest hot rodder in the world. Michael McCord. Even his name is a car name, as in McCord gaskets. In possibly the ultimate hot rod. A black flamed '34 Ford coupe. The colors of death, evil and hellfire. He gets picked up for speeding by the Sheriff on purpose. He checks out the lay of the land. He is the brother of one of the Sheriff's victims. He knows how his brother died. The Clarksberg government is all in favor of the Sheriff. There's only one way to get justice served for the killing of his brother and to fix things so \"this ain't a-ever gonna happen again to anyone\": recreate the chase and settle the contest hot-rodder style to the death. He goes out to the Curve and practices. The Sheriff knows McCord knows. The race begins... This is a movie to be remembered by anyone who ever tried to master maneuvering on a certain stretch of road.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0200", "text": "I wonder what audiences of the day thought when first laying eyes on Walter Jack Palance (Blackie). Certainly he looks like no one else of the time, that skull-like face, flattened nose, and elongated body-- even now he remains an unsettling presence. And what could be more appropriate than his emergence out of those dingy New Orleans slums that appear to fester like the plague Blackie is loosing on the city. I'm just sorry he didn't have more scenes. The movie itself is very skillfully assembled— the morgue's black humor, the Widmark- Douglas interplay, the un-touristy locations, the battles among officials—all are woven into a tensely realistic thriller with a menace unlike others of the time. Even Widmark's domestic scenes that put a woman (Bel Geddes) on the marquee manage not to be too disruptive. Director Kazan certainly shows his aptitude for helming a studio (Fox) product, no matter how he may have felt about the commercial aspect. Widmark does a solid low-key job as the public health officer. But my money is on the one- and-only Zero Mostel. Was there ever a sweatier performer who could squeal louder or get pushed around more than the bulky fall guy (e.g. The Enforcer, 1950). That scene with Mostel, where Palance argues with Mostel's shrewish wife (Liswood), is a gem of frantic subservience as Mostel tries to pacify each like some berserk pinball. Too bad he lost so many years to the blacklist. (I wonder if it was the voluble Kazan who named him.) But it's not only the professionals that add color. The locals add both character and authenticity, especially the two Asian guys interviewed by the cops. That whole scene has an improvised air, as if Kazan recognized their potential and fashioned a nifty little scene on the spot. Then too, that colorful hiring hall with all the deck hands is pure inspiration. And what about those flea-bitten coffee shops that have me running to the nearest Denny's. Anyway, the movie is still a well-staged, riveting thriller with an apocalyptic air that oddly foreshadows many of today's mega-hits.", "label": 1, "domain": "movie_review", "token_count": 467, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0201", "text": "This is one of the best movies to come from Bollywood in years. Certainly the best this year until now. Indian to the core, the panoramic visuals, the heart-pleasing dialogs and the melodious and soft music make the movie an exceptional one. The apt depiction of Indianvalues and culture makes the viewer search for his/her roots in them and invigorates the mind and spirit with a sense of pride and a new lease on life. This movie is for viewers who enjoy a call to their imagination and philosophical senses. If you like watching movies to get all your nerves excited through on-screen action, sex or terror, then this movie is not for you, because you will find that the movie is not full of 90 degrees twists in it. It is as simple a story for a movie as it can get. But that's exactly where the art of the movie lies. One gets a real life experience, and the best thing is, this experience is one full of values and hope. It is about the positive side of life, about the sweet things that God has showered on humans, as against the regressive movies that insist on showing dons, terrorists and underworlds. This is not about things and people that have gone bad. It is about the goodness that still persists, and that keeps the world running. Of course, every genre of movies is respectable but it takes a lot of courage and talent to come up with a movie that swims against the current and tries to open the eyes of the public to the hidden realities and truths. Having said that, here's more... The movie is the journey of a couple from their engagement to their arranged marriage - yes, that's right, it is an arranged marriage and the couple come to know each other only through their parents, and learn to love each other. The 6 month gap between engagement and marriage is a long time, not full of \"enticing\" happenings, but one that nurtures the growing love and devotion of the couple to each other. They learn together the importance of their relationship and of this invaluable period of their lives, and work to strengthen the bonds of marriage. But have these been strengthened enough? Their relationship will face the test of not only time but also fortune. Will they pass this test? That is what \"Vivah\" is about.", "label": 1, "domain": "movie_review", "token_count": 472, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0202", "text": "To those who have not followed the Anne Marie Fahey Murder case. You are missing out one of the saddest yet complicated murder of all. The murderer is popular Delaware attorney, Tom Capano and the victim is the Delaware Governor's Scheduling Secretary, Anne Marie Fahey. Their relationship was a well-kept secret until her disappearance and murder. She wanted to leave him but he just wouldn't let her go so easily. On the other hand, he had a mistress and a wife and four daughters. Where did he find the time to have two mistresses and a domestic family life? Besides, the case is extremely complicated and fascinating for a four hour mini series. While the actress who plays Ms. Fahey does a fine job, she does not have her dark long hair. His other mistress is definitely more attractive than the actual woman. Mark Harmon is better looking and does an Emmy award winning performance as Tom Capano. It would be better with actual Delaware and Philadelphia locations. With Ann Rule's executive producing, she adds accuracy to Anne Marie's characteristic of organization and her personal battle with an eating disorder. These bits of information might be overlooked by any other executive producer or director. If you have not read the book, it is well worth it. Ann Rule is a fascinating storyteller of true crime. It is ironic that Mark Harmon plays Tom Capano. He also played Ann Rule's former friend and subject, Ted Bundy in an another book adaptation many years ago. He was brilliant then and now. He does an above average job with an amazing story. Even President CLinton offered his assistance in the Anne Marie Fahey case. And now, the former Governor Tom Carper is now the United States Senator for Delaware who defeated longtime, popular incumbent Senator Richard Roth in the November 2000 election. IF you don't think the movie is interesting, then the read Rule's book.", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0203", "text": "Here's the kind of love story that I do enjoy watching. And mostly, it's for two reasons. One, it concentrates of young people, VERY young people. People who are still in their teens and are experiencing love for the first time, or at least think they are. All of us have been there in our lives and \"The Man in the Moon\" is a magnificent reflection upon our memories, maybe adding on a few more details and enhancing it further than any of us have experienced. The second reason is that is a love triangle. And I do believe that as teens, it's the most dramatic. And the story is so well developed that you believe the characters could really be in love, or are just so new to love that they just strongly believe they are and after a tragedy or so occurs, will believe it for the rest of their lives. The cast of \"The Man in the Moon\" is full of great talented names. It stars Sam Waterston, who is truly a versatile actor, well capable of playing tough district attorneys as well as strict, yet caring and wise fathers as in this film. Also there is Tess Harper, Jason London, and a young, young Reese Witherspoon. You look at the young, talented actress as she is at age fourteen and you think that about ten years down the road, she's going to win the Academy Award. All members of the cast pull off great performances and with the dialogue of the compelling screenplay, they are enhanced into looking like real people in real situations. As if it all really happened. This the kind of movie that I would like to see come out more often. Love story or not. I would love to see films that make everything look real and is not phony or disbelievable in any way.", "label": 1, "domain": "movie_review", "token_count": 361, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0204", "text": "This is a hard-boiled Warner Brothers film starring a very young Barbara Stanwyck. A consummate master at portraying Machiavellian cool, a technique she perfected eleven years later in Billy Wilder's \"Double Indemnity\", Stanwyck plays Lily Powers, the well-worn daughter of a violent speakeasy owner in a suffocating steel-town. She has been rendered cynical and numb by years of being offered up as a sexual favor to her father's customers. Once her father dies in a distillery explosion, she hops a freight train to New York and literally sleeps her way up the corporate ladder of a bank. This would come across as preposterous were it not for Stanwyck's blazing work here. With her dead-eyed stare and amoral seduction methods, it is easy to see why men become addicted to her aggressive carnality. One of the young men she seduces along the way is a fresh-faced John Wayne as of all things, an accountant named Jimmy McCoy. The melodrama gets heavy-handed toward the last third of the film with a murder-suicide, a hush-hush job in Paris to keep Lily quiet and the new bank president who is so addicted to Lily that he embezzles company funds to keep her in luxury. A tacked-on ending is somewhat disappointing but not before Stanwyck sears the screen. The film has curious touches like Lily's bonding friendship with an African-American woman named Chico and the German immigrant who teaches Lily about Nietzsche philosophy regarding the importance of avoiding sentimentality.", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0205", "text": "Andie MacDowell's facial expressions are great again in this movie. When you enter 40 and have been single for a while (or all your life) you may feel you are wasting away. The movie is a sweet reminder that love can be found just anywhere if your antennae is acutely active. I liked the quick sexual encounter, which must be out of character for a normally reserved school teacher (MacDowell). Her ex-student is cute enough, still carrying a crush on his teacher for so long. There are some parts that I thought rather unrealistic or unpractical, though. For example, at a scene where the other women's jealousy override and a scene was set up to make Andie MacDowell dump the young man, would a mature police officer (the other friend of MacDowell) allow her friend to do such a sinister act? Is it so easy for anyone to not stop in front of a car? Of course accidents happen all the time, but I hoped to see the heroine get happily married with the first man she got involved with (that was the hardest part to believe!! For such a beautiful woman to stay single for so long??)... Maybe the movie producers are aware of the fact that many romance between an older woman and a younger man do not last for long. Beside they know that a happy ending would not appeal to the public, especially to jealousy women over 40, who are waiting some miracles to happen. The sad ending with a glimpse of hope for the sad woman who lost her true love is sweet, but if the man continued to live, would that last? For how long? Nobody knows. Nonetheless, it's a movie to make you want to watch it again sometime later.... a year later maybe.", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0206", "text": "Sort of like a very primitive episode of \"General Hospital\" set in a natal ward (and one for tough cases at that), this fast-moving programmer has a satisfying emotional impact -- mainly because Eric Linden, as the distraught young husband in the main plot, is so palpably a wreck, and with such good reason. His expectant wife, Loretta Young, is brought to the ward at the beginning of a 20-year prison sentence for offing a lecher who probably had it coming to him; Ms. Young, as always, doesn't do anything to disinvite audience sympathy, and she's a little too good to be true, though sympathetic and lovely to look at, of course. Her difficult pregnancy and relationships with the other girls of the ward form the heart of the movie, and the outcome -- not an entirely happy one -- feels right. Aline MacMahon, \"one of the cinema's few perfect actresses,\" in the apt words of film historian David Thomson, exudes warmth and authority as the head nurse, and Glenda Farrell, as a none-too-willing new mom of twins, gets to croon \"Frankie and Johnny\" as a drunken lullaby. Frank McHugh figures in another subplot, and he gets to show more range than Warners usually permitted him. It's scaled and paced modestly, and Linden's expectant-dad panic stays with you for days -- this sort of part was often played for laughs, but he's a terrified young kid in trouble, and very persuasive.", "label": 1, "domain": "movie_review", "token_count": 312, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0207", "text": "This Cecil B. DeMille epic of the old West contains what may be Jean Arthur's finest performance, as a hysterical, eccentric, incurably amoral, but devotedly doting Calamity Jane. She really pulled it off! Gary Cooper is at his most taciturn, but manages some occasional pithy sayings: 'The plains are big, but trails cross ... sometimes.' The story is a pastiche to end all pastiches. All the cowboy heroes of Western lore seem to be in there somehow except for Jesse James. Even Abraham Lincoln opens the story in person (or at least, DeMille would have us believe so). There is no room for anything so evanescent as subtlety, this is a 'stomp 'em in the face' tale for the masses. A remarkable thing about this film however is that it is a very early full frontal attack on what Eisenhower was eventually to name 'the military industrial complex'. It isn't just a story about gun-runners, but about arming anyone for money, and doing so from the heart of Washington. But let's not get into politics, let's leave that to DeMille, who can be guaranteed to be superficial. The chief interest of this film all these years later is that it uses the first film score composed by George Antheil, who has a lot to say about the job in his autobiography, 'Bad Boy of Music'. Antheil seems to have originated 'the big sound' adopted by all subsequent Westerns, whereby the plains sing out with the voices and sounds of countless cowboys in the sky, celebrating the open spaces and interweaving common melodies. That is why it does not sound at all unusual, because we have heard it a thousand times. But he seems to have been the first to summon up the combined rustlings of all the sage brush into this symphony of the open skies which has entered into American mythic lore, and given it a soundtrack which has never varied since then, corny as it may be, but doubtless appropriate. It is amusing to see Anthony Quinn in an early appearance as a Cheyenne Indian. Gabby Hayes is in there somewhere, but you miss him in the crowd. Gary Cooper overtops them all, looming large, - but when did he ever loom small?", "label": 1, "domain": "movie_review", "token_count": 478, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0208", "text": "Overall this is a delightful, light-hearted, romantic, musical comedy. I suppose a small case could be made for the movie being to long. But I'm not sure what you would cut out. The singing that Kelly and Sinatra do? No. The fabulous dancing that Kelly does? No. The time the movie takes to develop the story line and develop the relationships of the characters? No (that seems to be a common complaint many times that more recent movies don't develop the characters). Some comment that Iturbi didn't bring much to the movie but this gives us a chance to see and hear a great talent from the 1040s. So what if he wasn't an actor? He was an important part of the movie as the basic plot was to get Grayson an audition with him. Originally Katherine Grayson wanted to be an opera star. Louis B. Mayer brought her to MGM for a screen test that included an aria. During her audition in the movie there is a shot of the MGM brass nodding and smiling. You can just imagine it was like that when she had made her real screen test years before. This movie is so full of life it is hard to hit all of the highlights. Great use was made of color and lighting throughout the movie. You can see why Frank Sinatra became the star he did. A nice counter-point in the movie is how Sinatra (a ladies man even then) played the role of wanting to just find a date while on leave. You'll feel good after seeing this movie. 7/10", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0209", "text": "Abhay Deol meets the attractive Soha Ali Khan and greets her \"Hello Sister\"!!!. This sets the tone for a remarkable debut film by Shivam Nair. Soha, a middle class girl has run away from her home in Nainital and come to Delhi to marry her lover, Shayan Munshi. But Shyan doesn't turn up leaving Soha heartbroken & alone in the big bad world. . Abhay, the lower class next door guy turns protective towards the vulnerable Soha and helps her get a job & shelter in an old age home. Slowly romance blooms and Soha agrees to marry Abhay. Then Shyan re-enters into Soha's life. A sensitively made film with a very unusual story, lovingly shot in Delhi, revolves around the delicate Soha. This well crafted film has moments which will forever remain etched in one's memory – the awkward first kiss & Abhay's swift apology; Abhay describing Soha as \"class wali ladki\" & hastily adding \"that he doesn't love her\"; his gifting a churidar to Soha & asking her out for a date. The music is good & the background music excellent. In a scene where Soha rushes & embraces Abhay the sound track disappears. The stillness conveys both the awkwardness & tenderness of the relationship. The poignant ending makes for a bitter sweet film, the memories of which will linger for a long long time. A must see I will rate it 8.5/10", "label": 1, "domain": "movie_review", "token_count": 316, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0210", "text": "This entertainingly tacky'n'trashy distaff \"Death Wish\" copy stars the exceptionally gorgeous and well-endowed brunette hottie supreme Karin Mani as Billie Clark, a top-notch martial arts fighter and one woman wrecking crew who opens up a gigantic ten gallon drum of ferocious chopsocky whup-a** on assorted no-count scuzzy muggers, rapists, drug dealers and street gang members after some nasty low-life criminals attack her beloved grand parents. The stunningly voluptuous Ms. Mani sinks her teeth into her feisty butt-stomping tough chick part with winningly spunky aplomb, beating jerky guys up with infectious glee and baring her smoking hot bod in a few utterly gratuitous, but much-appreciated nude scenes. Unfortunately, Mani possesses an extremely irritating chewing-on-marbles harsh and grating voice that's sheer murder on the ears (my favorite moment concerning Mani's dubious delivery of her dialogue occurs when she quips \"Don't mess with girls in the park; that's not nice!\" after clobbering a few detestable hooligans. The delectable Karin's sole subsequent film role was in \"Avenging Angel,\" in which she does a truly eye-popping full-frontal nude scene, but doesn't have any lines.) The film's single most sensationally sleazy sequence transpires when Mani gets briefly incarcerated on a contempt of court charge and shows her considerably substantial stuff in a group prison shower scene. Of course, Mani's lascivious lesbian cell mate tries to seduce her only to have her unwanted advances rebuffed with a severe beatdown! Strangely enough, the lesbian forgives Mani and becomes her best buddy while she's behind bars. Given an extra galvanizing shot in the vigorously rough'n'ready arm by Edward Victor's punchy direction, a funky-rockin' score, endearingly crummy acting by a game (if lame) cast, a constant snappy pace, numerous pull-out-all-the-stops exciting fight scenes, and Howard Anderson III's gritty photography, this immensely enjoyable down'n'dirty exploitation swill is essential viewing for hardcore fans of blithely low-grade low-budget grindhouse cinema junk.", "label": 1, "domain": "movie_review", "token_count": 461, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0211", "text": "This is an above average Jackie Chan flick, due to the fantastic finale and great humor, however other then that it's nothing special. All the characters are pretty cool, and the film is entertaining throughout, plus Jackie Chan is simply amazing in this!. Jackie and Wai-Man Chan had fantastic chemistry together, and are both very funny!, and i thought the main opponent looked really menacing!, however the dubbing was simply terrible!. The character development is above average for this sort of thing!, and the main fight is simply fantastic!, plus some of the bumps Jackie takes in this one are harsh!. There is a lot of really silly and goofy humor in this, but it amused me, and the ending is hilarious!, plus all the characters are quite likable. It's pretty cheap looking but generally very well made, and while it does not have the amount of fighting you would expect from a Jackie Chan flick, it does enough to keep you watching, plus one of my favorite moments in this film is when Jackie (Dragon) and Wai-Man Chan(Tiger), are playing around with a rifle and it goes off!. This is an above average Jackie Chan flick, due to the fantastic finale, and great humor, however other then that it's nothing great, still it's well worth the watch!. The Direction is good. Jackie Chan does a good job here with solid camera work, fantastic angles and keeping the film at a fast pace for the most part. The Acting is very good!. Jackie Chan is amazing as always, and is amazing here, he is extremely likable, hilarious, as usual does some crazy stunts, had fantastic chemistry with Wai-Man Chan, kicked that ass, and played this wonderful cocky character, he was amazing!, i just wished they would stop dubbing him!. (Jackie Rules!!!!!). Wai-Man Chan is funny as Jackie's best friend, i really liked him, he is also a very good martial artist. Rest of the cast do OK i guess. Overall well worth the watch!. *** out of 5", "label": 1, "domain": "movie_review", "token_count": 412, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0212", "text": "Since I first saw Anchors Aweigh in 1945, viewing it on videotape holds a lot of nostalgia for me. At age 15, it was easy for me to be drawn into the first of the great MGM Technicolor musicals. Now I am perhaps most interested in thinking about the future careers of the leading players. Though Sinatra had done a couple of negligible films soon after his emergence after his Dorsey days, as a solo singer, this was his first major film appearance. As another viewer noted, this seems almost to be a warm-up for On the Town. Sinatra may have had to work hard at it, but his dance with Kelly is credible, and he would do better in their next pairings. However, observing his physique, it's easy to see why he was caricatured as a string bean. Who would have imagined that within a decade he would win an academy award for acting, and go on to play many roles as a tough detective or leader in combat. Though Gene Kelly's personality and dancing dominated this film, his winsome performance did not suggest that he would become a major creative force, almost the iconic figure, for MGM musicals, where he developed a style of dance complementary to that of Fred Astaire. Finally, it was strange to see the fresh-faced Dean Stockwell and remember that he would later play a \"thrill\" killer in Compulsion, based on the Leopold-Loeb murder from the 1920s. An additional note: One reviewer praised the performance of Betty Garrett as Sinatra's love interest. She later played opposite him in On the Town, but Pamela Britton was featured in this film.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0213", "text": "This film is a delightful, light hearted look at both sides of where the \"club kid\" rave scene blends with the New York art, music and performance art worlds (with a cameo by the omnipresent Miss Bunny). This is \"Torch Song Trilogy\" for the perky-post-teen girls. \"That Girl\" for our disaffected, affected millennium times. The dialogue is fast and funny, and Parker Posey's costumer deserves - if not an academy award, at least - a stadium \"wave\" of kudos. Of course, this film rests on the very stylish platform heels of Miss Posey, and she is perfectly cast. Like a lot of her acting work, it may not be very deep, it is often self-referential and, well, posey... but it all WORKS. She is a talented comedienne, an incredible entertainer, and this film entertains, she carries it on her shoulders like a faux leopard wrap, and never lets it drop to the floor. Mary is a superficial party fashionista who isn't above stealing designer clothing from a friend's closet or making out with someone else's boyfriend. On a deeper level, this is a story of a girl and her friends who are care-less in every sense of the word, including about other people; and the process of learning that caring is necessary to life. The script is beautifully crafted, witty, and the only performance that disappoints is the Aunt, in a role that was much too one-dimensional and heavy handed; a more nuanced performance from her, would have deepened the relationship between the two... but... hey... this is comedy. A surprisingly deep role, that gives this film some substance and world vision, is the fallafel selling boyfriend. We should all be so lucky... is he the one for Mary? or the one that gets away? I rate this as a 8 because it isn't a great moment of film history, it is not a classic, and it is not great art (all of which get deeper and richer on re-viewing). Like \"Desperately Seeking Susan\" it represents something very true about it's time period, but may become irrelevant with time. Still, it has everything an entertaining film needs, and is worth viewing several times for the clothes alone!", "label": 1, "domain": "movie_review", "token_count": 468, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0214", "text": "At least something good came out of Damon Runyon's misguided attempt to sentimentalize the Mafia. \"Guys and Dolls,\" the seemingly indestructible stage musical, was captured on film in 1955 by Joseph L. Mankiewicz (\"All About Eve\") in a colorful, enjoyable movie that featured an all-star cast including Vivian Blaine (from the original Broadway show), Jean Simmons (whose character bears an odd resemblance to Audrey Hepburn in \"Roman Holiday\") and two of the all-time great leading men, Frank Sinatra and Marlon Brando, both of whom had recently won Oscars for Best Supporting Actor (\"From Here To Eternity\") and Best Actor (\"On the Waterfront\") and were on the top of their game. One listen to Brando singing \"Luck Be a Lady Tonight\" speaks volumes about where the early Dylan got his voice. Stubby Kaye steals the show as Nicely Nicely Johnson, who brings down the house with \"Sit Down You're Rocking The Boat.\" The ubiquitous Sheldon Leonard adds yet another page to his rogue's gallery of screen gangsters. The film has a bright, cartoonish look, anticipating the Pop Art of the early 1960s. The characters speak in a stylized patois, apparently based on Yiddish idioms. Although the film's social attitudes and gender roles are dated, it's all great fun, and even the gentle kidding of the Salvation Army is harmless and reflects no real animosity toward organized religion. Just seeing Sinatra and Brando in the same film is reason enough to watch this movie, but it has lots of other attractions to offer during its 149 minutes.", "label": 1, "domain": "movie_review", "token_count": 337, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0215", "text": "Having first achieved fame with Drunken Master, Jackie Chan was thrust into the spotlight once more with 1983's Project A, a hugely enjoyable pirate flick which re-established him as a major star. By the time Police Story was released two years later, the extraordinary hype surrounding Jackie was reaching its zenith, and crowds flocked to see this frenetic blend of awesome stunts, brutal fight scenes and questionable comedy. It broke numerous box-office records and inspired a 50% rise in police recruits, but, viewed 20 years on - is it any good? As an action movie Police Story unquestionably stands up. There are several terrific fight scenes, some stuntwork that recalls the very best of Chan's hero Buster Keaton, and a compelling if over-violent climactic tussle. Jackie's performance is also very strong, and whilst the frequent forays into laboured comedy dull the film's impact just a little, his charisma carries it through. Furthermore, in presenting our hero as a borderline psychopath whose recklessness puts others in danger, Jackie took a momentous gamble ... though in the event nobody seems to have noticed! By praising Police Story as a simple 'Good vs. Evil' battle critics belittled the film's ambiguity of tone, and whilst it's hardly The Brothers Karamazov, in depicting such uncertainty the film nevertheless represented a notable and praiseworthy shift from conventional ideas. In short, this remains a quality \"popcorn\" movie* (though you may empty your stomach as numerous villains are thrust against or deposited into glass showcases in the film's final scene) - a potent, boisterously entertaining action movie that ranks with the best of its period.", "label": 1, "domain": "movie_review", "token_count": 342, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0216", "text": "I will begin by saying I am very pleased with this climax of the Bourne trilogy. Please, oh please don't ruin it by doing a sequel years from now or a prequel. Just leave it alone. Right..moving on.As talented and versatile as Matt Damon is...it seems as though he was just meant to play Jason Bourne. If you are a fan of the first two Bourne movies, you will not be disappointed by the third installment. It sticks to what works and adds a little more. I was very pleased to see how well all the information we obtain in 'Identity' and 'Supremacy' all mesh in 'Ultimatum' to finally paint the full picture of Jason Bourne's troubled past. The action sequences are fast paced and keeps you on the edge of your seat. The fights between Bourne and the assassins are always fun to watch. I have always been a fan of movies surrounding CIA agents and how the CIA gather their Intel and this movie is right up that street, making it even more exciting for me. If you choose to watch The Bourne Ultimatum without watching the previous 2 installments..you will still thoroughly enjoy the movie but I would still recommend you watch them first. This would allow you to fully understand the character Jason Bourne and become attached and be a part of his world. This allows you to appreciate and enjoy the movie even more. I'm not sure which is the better of the first 2 but I personally think 'Ultimatum' might, just MIGHT, have the edge when comparing the trilogy.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0217", "text": "Although this show has been off the air since 1973, after viewing a DVD set I borrowed at our library, I felt compelled to say a bit about it. I can remember when it was the only color show on television in the 1960s, and sometimes there would be a little \"Sunday Night Party\" with friends to watch this on NBC on one of the few color televisions. I really enjoy history not so much for the names and dates but how it influences us today and how so much can be so profound based on the most inconsequential actions of the time. Case in point: Virginia City, Nevada, which became one of the richest cities in the world because of the silver, got its name from a character named \"Old Virginny\", who, in the town's early days, stumbled out of a saloon, fell and broke his whiskey bottle. Old Virginny didn't want to waste the occasion so as the precious liquid was seeping into the dirt he decided to christen the town \"Virginia Town\". The area became known as the Comstock Lode because another character, Henry Comstock, had the reputation of trying to jump everyone's claim and the area became known as the Comstock Lode. I just watched an early episode that dealt with these 2 subjects. Other episodes dealt with Mark Twain's literary rise while a reporter for the Territorial Enterprise... It was wholesome (and frequently educational) family entertainment. As someone else remarked, each episode would really be considered a movie in its own right - rich scripts and characters. One thing it twisted the truth on was the proximity to Virginia City and the Ponderosa. In truth, to ride from the Ponderosa (all of Northern Lake Tahoe), one would have to ride his horse about 3,000 feet (1,000 meters) down the Spooner Summit to the high desert (3,000-4,000 feet) of the Carson Valley then another 30-40 miles to Virginia city. Needless to say the Cartwrights would have some sore rear ends doing this on a regular basis. But every writer should have some leeway with the truth. How I miss that show, even today.", "label": 1, "domain": "movie_review", "token_count": 447, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0218", "text": "My father was the warden of the prison (he is retired now) showcased in this documentary and I've grown up around the prison life, so perhaps my views will be totally different from everyone else who watches this movie. I will say this, the filmmakers who brought us this 93-minute miracle are fantastic artists and even better people. They were brave enough to A) Show up and tell this story, B) Get inside these inmates minds and hearts, and C) Do all of this responsibly. Responsible to their art and, more importantly, responsible to the inmates and staff of Luther Luckett Correctional Complex. They should be commended without end for this work. To take 170 hours, yes HOURS, of footage and be able to cut and whittle it down to 93 riveting minutes is nothing short of extraordinary and they have my utmost respect. I saw this film under circumstances that only a very, very few were able to see it. I was at the inmate screening. I was in the same room with these men as they watched their hearts being poured out on screen. I saw men crying on television crying in the chair in front of me and let me tell you, it was a very profound experience. These men have committed horrendous crimes in some cases, yet have found ways to try to redeem themselves, even if they view themselves as unredeemable. How many of us have the courage to do this? How many people could do what they have done in such a harsh environment? To see them react to the film was an experience I am eternally grateful for, and I will never forget that. I thank the men who allowed me this glimpse into their lives, I thank my father for making ALL of this possible, and I thank Philomath Films for taking the time to pour their blood, sweat, soul, and tears into this project. This movie will change everything you think you know about prison life, and the inmates held within it. 'Oz' is not real, television is not real. 'Shakespeare Behind Bars' is.", "label": 1, "domain": "movie_review", "token_count": 422, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0219", "text": "After being sent to prison for no less then 10 nor more then 40 years for being busted with drugs and refusing to give up her accomplishes, Jackie (Erica Gavin of Russ Meyer's \"Vixen\" and \"Beyond the Valley of the Dolls\", in her last film role) has to get accustomed to life in the big 'doll' house, or at least try to, in this early film by Jonathan Demme. Due to it's tawdry nature and sheer watchability, I would also rank this as one of his best films, right below \"Silence of the Lambs\" and \"Stop Making Sense\", but so far above any of his other movies. This minor classic is just campy, sleazy, and fun enough to be an amazingly good guilty pleasure and thankfully never once goes overboard into all out parody of the Women In Prison genre. It ALMOST washed out the rancid bad taste of the ludicrously preachy \"Philidelphia\" from my mouth. However, the film is not without it's downfalls (the 'un'talent show is a HUGE chore to sit through and goes on far too long, Barbera Steele is sadly wasted, among other small things) But don't let those gripes stop you from watching an otherwise enjoyable movie. My Grade: B- DVD Extras: 5 minute Roger Corman interview; Cast & crew Bios; Original Trailer; and Trailers for \"Candy Stripe Nurses\" (with nudity), \"Big Bad Mama 2\", \"Big Doll House\" (with nudity), & \"Crazy Mama\" Eye Candy: Juanita Brown, Cheryl \"Rainbeaux\" Smith, Erica Gavin, Roberta Collins, Ella Reid, Lynda Gold, and some others all show skin", "label": 1, "domain": "movie_review", "token_count": 361, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0220", "text": "David Burton(Richard Chamberlain, quite good)is a lawyer, more adept at handling corporate taxation(..and suffers from unusual dreams which bother him seeing this aboriginal man shrouded in darkness), who is called on to take a case concerning a group of aboriginals charged with the murder of one of their own named Billy..we see that he tries to steal stones with ritual painting on them and is killed when a leader of an aboriginal tribe named Charlie(Nandjiwarra Amagula)uses a \"death bone\" to stop his heart. Meanwhile, revolving around David, bizarre weather patterns effect Sydney such as rain beating down polluted dirt and rock-sized hail during bright blue skies(with no sights of clouds, such as the one that hits a school in central Australia), not to mention, a \"deformed\" rainbow which is split(!)into groups. As David pursues the case he finds that he is far closer to the weird events taking place than he could ever realize. One aboriginal named Chris(David Gulpilil)appears to him in a dream holding a stone with blood and he finds that this man is one of those he is to represent at trial! He finds that it's quite possible, after some strange meetings with Charlie and conversations with Chris, that he very well might be linked to a spirit named Mulkurul and that his dreams are actual premonitions of possible horrors yet to come. Absorbing apocalyptic drama builds it's story methodically and is completely original and unpredictable. With Peter Weir in charge, the film is visually arresting as we see these very overwhelming images of possible doom towards civilization, but the film's most compelling angle is certainly David's journey to find that monumental truth that plagues him as he questions Charlie and Chris countlessly, at first to help his men get off from a crime they didn't commit, and ultimately to find out what he has to do with anything catastrophic that is occurring or might occur later.", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0221", "text": "This is a complex documentary that shows many things about early Gay life. To put it in perspective it was when Gay was the word used for the homo-sexual revolution, and not just Gay as a descriptor. Or is it still used that way today? I believe most of the film comes from circa 1968 to 1989. It was released in 1993, so it's been around. I was touched by the documentaries capturing of one man's love for another over a 20 some odd year period. A love expressed in ways that only true love can be. There are many scenes of incredible empathy and pain, along with scenes of joy and pleasure. There are scenes of life as a homo-sexual and life as a gay. The film itself was a work of love, and I believe it to be a diamond. At the very least one will get out of this film an understanding of the devastating impact of AIDS. As I write this, I am thinking how much earlier this film seems to me to have been set. The advances in medical, political, and social sciences and culture that have taken place since this film was set (some 15 years ago) are amazing. However, obviously, in the case of the disease of AIDS itself, we are not done yet. Heck I guess we aren't done on all fronts. Anyway, it's just a pretty darn good documentary. I'd encourage anyone that feels that they don't quite understand gay life, gay issues, or the devastation of AIDS to watch this film.", "label": 1, "domain": "movie_review", "token_count": 311, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0222", "text": "first, i'd like to say that, while i know my share about star wars, i am not a fanatic. i do not know how many chromosomes a Wamp Rat has or the extended family of TK427. what i know is this: Star wars, all the movies(less so with episode 2 though), captured something magical. it's hard to say what, what button Lucas has found and boldly pressed, but it works. Star Wars is more than a movie. it's an idea. How, may you ask? i shall explain. star wars touches on the most universal of stereotypes, good vs evil. it does this so obviously, so profoundly, that literally any person from any environment can understand. Episode VI does the very well, concluding the epic struggle between a son and his used and manipulated father, yet also, with the addition of the prequels, reveals even more to the hinted back story. suddenly, it's Darth Vader at the front, and viewers realize that it's the story about Anakin, not just Luke. but even before 1-3, there was amazing depth to it all. it felt real, as if capsule fell from the sky into Lucas's lap, detailing a historical account of a galaxy far, far away. Star Wars is definitely something far above the norm, and i must admit, whenever i see them, particularly this one, i feel very small. i feel as though i've been thrust into a world where good and evil are so clearly defined. i get a tingling feeling when i see them, a feeling that something, somehow, has touched me more than any physical thing could ever hope.", "label": 1, "domain": "movie_review", "token_count": 336, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0223", "text": "An old vaudeville team of Willy Clark (Walter Matthau) and Al Lewis (George Burns) were one of the best known but they broke up hating each other. Over 20 years later they agree to get together for a TV special...but find out they STILL hate each other. Willy's nephew/agent (Richard Benjamin) tries to get them to work together. A big hit in its day and it won George Burns an Oscar for Best Supporting Actor. I (somewhat) liked it. It was written by Neil Simon so its non-stop one-liners. Some of it was funny but making jokes of Willy and Al's senility was NOT. Also I never liked Matthau. I never thought he was a good actor and something about him just rubbed me the wrong way. Also his character here is so caustic you get sick of him quickly. All that aside this was fun. Burns is just great tossing off one-liners with ease and even Matthau was good matching him. Their verbal battles are the best sequences in the movie. Also Benjamin is very good as Willy's nephew trying to get the two of them to work with each other. For me it's worth seeing for Burns alone. This jump started his career in a big way and two years later he had ANOTHER hit with \"Oh God\". So, this is good. Just good--not great. Matthau's character really makes this hard to love. I give it a 7.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0224", "text": "I went into this movie perhaps a bit jaded by the hack-and-slash films rampant on the screen these days. Boy, was I surprised. This little treasure was pleasantly paced with a somber, dark atmosphere. More surprising yet was the very limited amount of blood actually shown. As with most good movies, this one leaves something to the imagination, and Bill Paxton did a superb job at directing. Scenes shot inside the car as are well done and, after watching the \"Anatomy of a Scene\" episode at the end of the video tape, It was good to see that some of the subtle, yet wonderful things I had noticed were intentional and not just an \"Oh, that looks good, keep it\" type of direction. This is a moody movie, filled with grimness. Still, for the dark subject, a considerable portion of it is filmed in daylight, even some of the more disturbing scenes. The acting is exceptional (Okay, I've always been a fan of Powers Booth), and never goes over the top. Au Contraire, it is very subdued which works extremely well for this type of film. If there is any one area where this film lacks, it is in the ending, which seems just a bit too contrived, but still works on a simpler level without destroying the mood or the message of the movie. What is the message? It's something that each individual decides for themself. Overall, on the 1-10 scale, this movie scores an 8 for those who like the southern gothic genre (ie: \"Body Heat\" or \"Midnight in the Garden of Good and Evil\"), and about a 5 for those who don't.", "label": 1, "domain": "movie_review", "token_count": 344, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0225", "text": "You know the people in the movie are in for it when king-sized hailstones fall from a clear blue sky. In fact, the weather stays pretty bad throughout this atmospheric thriller, and only lawyer Chamberlain has the answer. But he's too much the European rationalist, I gather, to get in touch with that inner being that only reveals itself through dreams. Darkly original mystery heavy on the metaphysics from director-writer Peter Weir. Already he had proved his skill at flirting with other dimensions in Picnic at Hanging Rock (1975). Here it's the arcane world of the Australian Aborigines that confronts that the tightly ordered world of the predominant whites. Something strange is going on inside the Aborigine community when they kill one of their number for no apparent reason. Yuppie lawyer Chamberlain is supposed to defend them in a white man's court. But the more he looks into things, the more mysterious things get, and the more interested a strange old Aboriginal man gets in him. And then there're those scary dreams that come and go at odd times. Well structured screenplay deepens interest throughout. One reason the movie works is the background normalcy of Chamberlain's wife and little daughters. Audiences can readily identify with them. And when their little world runs into forces beyond the usual framework, the normalcy begins to buckle, and we get the feeling of worlds beginning to collide. Chamberlain underplays throughout, especially during the underground discovery tour where I think he should have shown more growing awareness than he does. After all, it's the picking up of the mask that holds the key (I believe) to the riddle, yet his reaction doesn't really register the revelation. Of course, the notion of nature striking back has a certain resonance now, thirty years later. In the film, the notion is wrapped in a lot of entertaining hocus-pocus, but the subject itself remains a telling one. One way of bringing out a central irony in the movie is the symbolism of the opening scene. A big white SUV barrels past an aboriginal family, leaving them in the historical dust. The terrain looks like an interior tribal reservation of no particular importance to the coastal fleshpots where industry dwells. Yet, it's also a region most likely to survive anything like a destructive last wave. Perhaps there's something about past and future to think about here. Anyway, this is a really good movie that will probably stay with you.", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0226", "text": "Is this the future that awaits us? An overpopulated, unforgiving wasteland with a hellish, unwanted existence? This film brings to mind a problem that still plagues us, doubly so since the film was released in back in 1973. Let's hope that the world isn't going to end up like this... Soylent Green is a wild movie that I enjoyed very much. It had likable characters, a semi-apocalyptic setting, a compelling and thought-provoking storyline, and the macho-est macho man out there: Charleton Heston. Richard Fleischer gave the movie a very unpleasant, dirty feel. You're almost choked by the stench from the city and its filthy inhabitants. The characters are wonderful. Charleton Heston, who has become one of my favorite actors, IS Thorn. The man created this role of badass, yet likable tough-guy. I could definitely put myself in Thorn's shoes. He sees that something isn't right, but everyone around him either doesn't listen (more like paid not to listen) or wants him dead. Edward G. Robinson (in his last film, R.I.P.) plays the lovable old Sol, who has had enough of this nasty place. Everyone else is great, especially Leigh Taylor-Young as Shirl, a piece of \"furniture\" that comes with the apartment in which she resides. The special effects are fantastic, even for 1973. The Soylent Green factory, the futuristic apartments, and especially the \"scoops\" (bulldozers that get rid of people) were excellent. The polluted air outside looks disgusting and very nasty. The empty city streets filled with the vile and putrid people are very unsettling. One final note is the ending, which even now still shocked me. It is gruesome, but if you think about it, it's a pretty good idea. The Bottom Line: An excellent 70's Science Fiction flick that makes you think and leaves you feeling very uneasy.", "label": 1, "domain": "movie_review", "token_count": 414, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0227", "text": "Not being a fan of first person shooters I was very hesitant to play this game. After having played the demo however I was sold. \"Undying\" really manages to pull you in the game and be part of the universe that your character is in. You have this green amulet,called the \"Gel'ziabar Stone\" that has special powers and warns you of particular events or things to look at. With a special spell \"the scrye\" you can see certain things that otherwise would be invisible to you. Walking in a hallway you suddenly hear the magical stone whisper:\" Look\",with the stone glowing at for example a painting. And then using the scrye spell you can see some weird and creepy stuff on the painting. Let me tell you to witness something like that is scary as hell. People who expect to finish this game in a few hours can forget about that even with the use of cheats. This game relies on the character using wits and walking carefully around. Because like in any horror movie your surroundings are usually pretty dark. And ghosts and monster appear at random when you don't expect them and can kill you very quickly. There is this one scene where you want to enter a room where you are pushed back with such great force that it takes moments for you to realize what happened. This was a scene that could have come straight out of the horror classic \"Evil Dead\"! To experience something like this is a real accomplishment. There are a lot of elements that take \"Undying\" to the level of the best classic horror movies ever produced. But sadly I have to report that there are some flaws. For one thing the universe you are playing in is huge. You start out in a big mansion with all sorts of hidden,secret rooms and even a hidden hell dimension called \"Oneiros\". That is all fine in the beginning. But with all the loading times and some difficult enemies in between that can become frustrating. And there is no map. The game demands you memorize your surroundings. So patience is required. Also there are some jumping puzzles that you have to do otherwise you can't progress. I don't mind jumping on platforms in third person adventures. But in first person mode that can be an annoying task. Luckily you can save at anytime and anyplace. And trust me you will need it. Overall \"Undying\" is an extraordinary first person shooter that deserves to be played by any horror or game fan.", "label": 1, "domain": "movie_review", "token_count": 497, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0228", "text": "This is the second Baby Burlesk short to be released, and probably the most popular one, is a spoof of the 1926 silent film What Price Glory. I watched this and I do not understand the kiddie-porn that is being claimed. It is just a cute little film. I have seen family shows that I grew up watching in the '80's and '90's that had little girls dressed more provocatively acting in a 'mature manner'. It was more provocative because they WEREN'T dressed in diapers. There's nothing provocative about a diaper unless you have one of those fetishes. (just a joke) I read that description of the movie and where it states only a pedophile would enjoy watching this. That is sick. To me, if you watch this and are bothered by it, then maybe you need to look into your own psyche and try to figure out why it bothers you. It is an innocent film that was made as a parody of another film. All of the B.B. films were parodies, nothing more. The parodies/spoofs of today are graphic in nature and have true almost pornographic scenes and quite vile language. Shouldn't those be more appalling? I can watch those without issue, but they sometimes take children's stories and turn them into filth on those parodies. That is what should get under your skin. Not that they babified (not a word, I know) an adult movie from 1926, because we know how PORNOGRAPHIC those silent films were, huh? Not to mention those 'Forbidden Hollywood Pre-Code era films' so vile and filthy. They would NEVER make such filth today? (note the sarcasm)", "label": 1, "domain": "movie_review", "token_count": 351, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0229", "text": "After losing the Emmy for her performance as Mama Rose in the television version of GYPSY, Bette won an Emmy the following year for BETTE MIDLER: DIVA LAS VEGAS, a live concert special filmed for HBO from Las Vegas. Midler, who has been performing live on stage since the 1970's, proves that she is still one of the most electrifying live performers in the business. From her opening number, her classic \"Friends\", where she descends from the wings atop a beautiful prop cloud, Bette commands the stage with style and charisma from a rap-styled number called \"I Look Good\" she then proves that she has a way with a joke like few other performers in this business as she segues her way through a variety of musical selections. The section of the show where she salutes burlesque goes on a little too long but she does manage to incorporate her old Sophie Tucker jokes here to good advantage (even though she actually forgets one joke in the middle of telling it, but her ad-libbing until she remembers it is hysterical). Bette also treats us to \"Rose's Turn\" from GYPSY and the title tune from her smash film THE ROSE as well as a shameless plug for her hit movie THE FIRST WIVES CLUB. She brings the house down near the end with \"Stay with Me, Baby\" from THE ROSE and her only #1 hit record, \"Wind Beneath My Wings\" from BEACHES. It's a dazzling evening of musical comedy entertainment and for Midler fans, it's a must.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0230", "text": "Scott Bartlett's 'OffOn' is nine minutes of pure craziness. It is a full-frontal assault of psychedelic, pulsating, epilepsy-inducing flashing lights and colours, and the first true merging of film and video in avante-garde cinema. There's no story to speak of, but Bartlett uses images of nature – particularly the human face and form – to provoke a sequence of emotional reactions, integrating these biological phenomena into the highly-industrial form of modern technology. In a sense, the film represents the merging of humanity into his tools, his machinery, his technology. This theme connects loosely with the subplot of HAL9000 in Stanley Kubrick's '2001: A Space Odyssey (1968),' and, indeed, Bartlett's opening sequence of images – flashing colours before a close-up human eye – recalls Dave Bowman's journey through the Stargate. The visuals are richly-coloured, a confronting blend of sharp, vivid photography and increasingly-grainy video, as though we're sitting too close to a television screen {as a matter of fact, the end product was recorded from a TV monitor}. There appears to be some confusion about the film's release date. IMDb lists the film as a 1972 release, but both the National Film Registry and the National Film Preservation Foundation give 1968 as the correct year. Perhaps this disparity reflects the time between the film's completion and its first public screening. Either way, the visuals are distinctly ahead of their time, occasionally reminiscent of a 1980s music video, and some brisk techno music wouldn't have gone amiss, either! 'OffOn' captures grainy, fragmented images, presenting life from the warped perspective of a computer processing too much information. I had a thought – and please don't laugh at this free-thinking interpretation – that an extraterrestrial civilisation capturing Earth's television signals might very well receive such a disjointed, alien documentation of human life, a bizarre montage of only vaguely-familiar imagery that couldn't possibly make any coherent sense. Perhaps this is where Mankind, with all his technology, is eventually heading, towards an irreversible merging of film and video, of purity and artificiality.", "label": 1, "domain": "movie_review", "token_count": 451, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0231", "text": "\"Hitler, the rise of Evil\" is clearly produced by people emotionally unburdened by the horrors of World War 2. Which makes watching a refreshing experience. I think its greatest value lies in its crystal clear revealing of the Nazi-mechanism. Of the utterly corrupt ways Hitler used to make it to the top. Having arrived there, this film ends. When on top, the 'Fuhrer' (= German for 'leader') led his Germany to the biggest & most devastating war in history of mankind. Ending six years later in Germany's utter defeat. As a result, Germany lost its eastern provinces (= about 35% of its prewar soil), and was forced to accept a 44 year-split of its remaining territory. Both West and East Germany had to be rebuilt from scrap, their reputations severely damaged by the many Nazi-atrocities inspired by racism. As I said, \"Hitler, the rise of Evil\" makes an good watch. Set in an acceptable thirties-environment, with (more than) competent acting. In particular Peter O'Toole's role as the aged president von Hindenburg stands out, even adds an extra dimension. My copy of \"Hitler, the rise of Evil\" also provides a second DVD with two good documentary films. One is about Hitler's personality, the second deals with the forgery of the Hitler-diaries. In 1983 this forgery caused a hilarious scandal in England and Germany, damaging the reputations of several historians and journalists.", "label": 1, "domain": "movie_review", "token_count": 309, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0232", "text": "Even though I'm quite young, The Beatles are my ABSOLUTELY FAVOURITE band! I never had the chance to hear their music as it was releases but have loved them since I can remember. It's the sort of film that is worth trying the once. I can see why it wasn't released in the cinema but it is certainly a great film to put on the TV. I was flicking through my TV guide and happened to see this film, it didn't much details except something like, 'John Lennon and Paul McCartney meet after The Beatles have broken up, Jared Harris Stars'. I'd never heard of him (he played John) or Aiden Quinn who played Paul. However they are certainly underestimated actors! The film had a slow start but as it developed, I could see how well Quinn but especially Harris played their characters. As a huge fan, I sort of know what the real Lennon and McCartney are like. The script was brilliant and Harris got Lennon's accent, personality and mannerisms spot on! Quinn played McCartney quite well but sometimes went into his Irish accent. THe make-up artists made them look excellent. THIS PARAGRAPH MAY BE COUNTED AS A *SPOILER*: As I mentioned before, it got off to a slow start but soon developed and became quite an emotional film. I found the bit in the park a total waste of time and quite out of character for both of the musicians. As for Lennon's rude line in the Italian restaurant, totally unnecessary. The ending was very poignant and brings a tear to my eye whenever I watch it. It is quite different from the other biographical films I've seen where it's about how The Beatles got together and became famous, and those never really did the characters that well. E.g. 'Backbeat'. In conclusion, I would say, if you're a Beatles or John Lennon or Paul McCartney fan, give it a chance you may have pleasent surprise. At only about 95 minutes long, it's worth waiting for the film to develop. If anyone does know whether the meeting of 1976 really did happen please send it to the 'comments page' for this film, I'd be very interested.", "label": 1, "domain": "movie_review", "token_count": 447, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0233", "text": "Indeed: drug use, warehouse shoot-'em-ups, 'Matrix'-esque bullet dodging, a futuristic city with a mix of Asian races, and a lonely vampire --all in the same movie-- seems like a story that could only be envisioned by a Japanese pop/rock star. And that is exactly what 'Moon Child' is, and more. While all these elements combined may sound like the perfect subject for a campy B-movie of the week, 'Moon Child' pulls it off with but a few expected bumps and hitches along the way. The film has a gritty, definitely independent feel to it, jumping from one scene to the next not in smooth transition, but rather sporadic leaps and bounds, giving glimpses into the characters' lives and barely scraping at a true plot. But the film makes no excuses, instead turning the story into one of friendship, love, trust, and betrayal all sugar-coated in the aforementioned elements of a futuristic society, warring gangsters, and vampires. HYDE as the somber vampire 'Kei' is excellent, giving depth to the character and balancing-out the overly-zealous acting of Gackt as 'Sho,' an orphan who befriends Kei. Lee-Hom Wang also shines as the vengeful 'Son' who becomes friends with a grown-up Sho. The story revolves around these characters and their extended friends and family through different periods in their lives, and how simple friendship can so easily be turned into grief and betrayal. While the action at times is all-too unrealistic and special effects appear just to show-off, one thing the film never does is presume to be about the immensely popular Asian singers it features. The superstars as actors have their flaws, and so do their characters. The movie rarely gets boring, and ends where it should, after jumping about quite a bit. 'Moon Child' is rather enjoyable, humorous at times, and even very touching: it is definitely worth your time!", "label": 1, "domain": "movie_review", "token_count": 401, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0234", "text": "Watched this as a late TV movie last night purely by chance. The blurb for the film said something to the effect of mother stays with daughter and goes on romantic journey, as I tuned in there's the carpenter hard at work on a new conservatory - played by Daniel Craig no less - so the plot was immediately apparent. It turns out that eponymous mother's carpenter love interest is also the daughter's boyfriend, so there's trouble brewing and not too many surprises. But I'd been caught by Anne Reid's compelling performance and I was hooked. The direction allows her plenty of space for staring into mirrors and adjusting scarves, when she exudes sadness. The sex scenes were fascinating and taboo-breaking. Shouldn't older women's bodies remain covered up? Not here and we're treated to a delicious reawakening in the Mother's sexuality. Even more startling are the drawings she's made that (SPOILER!) once discovered confirm her daughter's suspicion that something's going on here. Cathryn Bradshaw as the daughter didn't convince me quite as much as the rest of the cast, but that could be me. With her waves of pre-Raph locks I kept expecting to see Julia Sawahla, whose more intense face would have suited the confrontations better to my mind. Bradshaw has a rounder happier face that didn't carry the anger that emerges as the film progresses. The ending is weak. If the goodbyes for Mother as she leaves in disgrace are so indifferent then perhaps we could see some close-ups of those waving goodbye and see something of their individual reasons. Whatever she's done, she's a recently bereaved widow leaving for the lonely home she shared with her husband for 30 years, and I found the lack of sympathy jarring. For a film so full of emotion (and be warned it's like opening champagne, you'll never get the lid back on) the ending is a cold contradiction.", "label": 1, "domain": "movie_review", "token_count": 395, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0235", "text": "It took us a couple of episodes to \"get into\" Dark Angel as a story and a series, since we were transitioning from The Sopranos, a very different mentality framework. But, once we got with the gist of the series, we were very quickly hooked. It's a shame that the series ended just when it was just starting to past good into the excellent category: Dark Angelwas much more than your average TV series. It kicks ass and rocks as far as action goes, but the interactions of the characters and societal reactions to \"mutants\" reminds us of the constant prejudices that we face (and make) everyday. That the story is set in the future keeps the mood surreal and prevents the anti-discrimination message from being rubbed in our faces (hence not ruining the \"fun\" for those who don't like to be lectured during entertainment), but every event and human/societal interaction remains relevant to the present. We all make judgments, face our own prejudices, but, in the end, the question of who you are lies in: do you sit back and shut your mind to it, or do you get up and do something about it? For those who have no choice but to fight, for survival or justice, this series empowers them. For those who've never had to face the question, this series \"sneaks in\" that message under the guise of pure action entertainment. It is much more well-made and well-written than most TV series; I'm highly disappointed it ended before it could really kick into high gear.", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0236", "text": "Laurence Olivier, Merle Oberon, Ralph Richardson, and Binnie Barnes star in \"The Divorce of Lady X,\" a 1938 comedy based on a play. Olivier plays a young barrister, Everard Logan who allows Oberon to spend the night in his hotel room, when the London fog is too dense for guests at a costume ball to go home. The next day, a friend of his, Lord Mere (Richardson), announces that his wife (Barnes) spent the night with another man at the same hotel, and he wants to divorce her. Believing the woman to be Oberon, Olivier panics. Oberon, who is single and the granddaughter of a judge, pretends that she's the lady in question, Lady Mere, when she's really Leslie Steele. We've seen this plot or variations thereof dozens of time. With this cast, it's delightful. I mean, Richardson and Olivier? Olivier and Oberon, that great team in Wuthering Heights? Pretty special. Olivier is devastatingly handsome and does a great job with the comedy as he portrays the uptight, nervous barrister. Oberon gives her role the right light touch. She looks extremely young here, fuller in the face, with Jean Harlow eyebrows and a very different hairdo for her. She wears some beautiful street clothes, though her first gown looks like a birthday cake, and in one gown she tries on, with that hair-do, she's ready to play Snow White. Binnie Barnes is delightful as the real Lady Mere. The color in this is a mess, and as others have mentioned, it could really use a restoration. Definitely worth seeing.", "label": 1, "domain": "movie_review", "token_count": 344, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0237", "text": "Guys and Dolls is a movie itching for a remake. It was made forty-eight years ago. Its two main stars are either dead or 409 pounds. Although a remake, with big stars now, would be box-office success, it would not be able to capture the magic that went into this version. Its boundless energy can't be recaptured, nor can the pure joy you get when watching something like this: a huge, widescreen, big entertainment movie. Marlon Brando (who last clocked in at 409 lbs. last time I heard) plays Sky Masterson, one of the biggest gamblers in New York. Frank Sinatra is Nathan Detroit, whose as-often-as-he-can-find-a-speakeasy-for-it crap game is city-wide famous. However, when the one place he has left to hold it is charging $1,000, Detroit needs the money fast. He bets Masterson $1,000 that he can't take missionary Sarah Brown (Jean Simmons) to Havana with him the next day. Guys and Dolls is basically nothing more than unsavory types singing and dancing, which usually, as it does here, add up to fun. It's obvious to see how this was a Broadway musical: there weren't that many sets, and the scenes were long. If I was to complain about one thing, it's how uneven the songs were. At times, there were two songs in a scene; other times, thirty minutes went by without one. Guys and Dolls is never boring, just a great time. My rating: 8/10 Not Rated.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0238", "text": "I recently caught up with this little gem of a film on cable. It took me by surprise, even though, I should have expected it from the team involved with this movie. Henry Bromwell directed this film with a sure hand, and it shows. One always wonders about the secret life of hit killers. One doesn't have to go too far to realize they probably are one's own neighbors, or social acquaintances, or even friends; they're no different from us, at least on the surface. In this story, the grandfather, is a despicable character who does not hesitate in eliminating anyone for the right price. He has no scruples in teaching the ropes to his own son, and even to the grandson! Alex, is a man living in turmoil. He knows what he has done in the past and suddenly is coming to realize the consequence of his actions. He has to see someone to help him find peace with himself. In going to Dr. Parks, he is trying to find absolution, although, he doesn't find it there. On the contrary, there is a dramatic twist when Alex learns about who is supposed to kill next. Alex, brilliantly portrayed by William H. Macy, mesmerizes us. Not only is he a fantastic actor, but he makes us believe he is that man. One of the best things in the movie is the late John Ritter. He is equally convincing as Dr. Parks, the man who unravels the mystery. Donald Sutherland, as the grandfather is perfect. He is a natural actor in everything he does. Neve Campbell surprised in her pivotal role of Sarah. She shows a capability and range that are incredible. Tracey Ullman is Martha, the suffering wife, and she doesn't get to do much. Also Barbara Bain, in a rare appearance, is the grandmother from hell. David Dorfman, is a delight in the film. He shows a maturity beyond his years.", "label": 1, "domain": "movie_review", "token_count": 395, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0239", "text": "What a fun movie! If you're a Giallo fan, Red Queen Kills 7 Times is a real winner. To begin with, it's hard to go wrong with Barbara Bouchet and Marina Malfatti in the same Giallo. Both are wonderful - especially the wide-eyed innocent Bouchet as the guilt ridden woman fearing for her life. The kill scenes in Red Queen Kills 7 Times are especially nice and feature enough blood to make most fans happy. One of the first murders comes rather unexpectedly and really gets the movie off to a good start. The killer, The Red Queen, is one of the most over-the-top and interesting looking murderers I've seen in an Italian movie. The 70s sets and fashions are wonderful. In fact, all the visuals are interesting with the laughing Red Queen running across the bridge at night being one of my favorite moments in the film. The convoluted plot held my interest throughout. Finally, Bruno Nicolai's score may be the best I've heard from the composer. The main theme is so memorable I haven't been able to get it out of my head for two days. The only two issues I have with Red Queen Kills 7 Times come in the film's finale. First, the person responsible for the murders is far too easy to spot. If you've seen more than a couple Gialli, you won't have any problem determining who is behind the killings. Second, the ending feels a little too rushed and, as a result, is a bit confusing. I'm definitely not one who needs every plot point spelled out to me, but I'll admit to being at a loss to explain it all. A second viewing might just clear this up.", "label": 1, "domain": "movie_review", "token_count": 352, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0240", "text": "In what will probably find itself on my list of Fuller's best movies (that is, once I see more of them that just this and Shock Corridor), Pickup on South Street is a film noir where the femme fatale, as well as the male protagonist, are not the stereotypical ones in the genre. Like most of his other works, Fuller injects his own experiences and the sense of New York style that is usually absent in the Hollywood noirs. On a small budget- at least for the likes of Darryl F. Zanuck- Fuller and his actors create personas that are likable even in such a dark atmosphere. The good guys are basically the ones who won't get violent with you even as they're looking for an extra buck. Richard Widmark, Jean Peters, and Thelma Ritter are all terrific in the lead parts. Widmark is one only a few actors I can think of who could've really pulled off this character. He's a little like Bugs Bunny, as he can be a wise-ass who is a little sneaky. On the other hand, the character of Skip McCoy does have a set of values in his life. He doesn't go into other people's affairs, and doesn't try and care about much of the working world outside of his little shack on the river, after being sent away for three years. He slips up, unbeknownst to him, when he pickpockets a woman (Peters) on the train, and lifts an item that's under the eye of the Government. It may have some secrets that could make him a lot of money. But at what cost is the centerpiece of the film, as it involves stoolie Moe (Ritter is one of the finest, and most believable, character actors from the period), the woman's ex (a volatile Kiley), and the police department. Aside from the thematic elements, which are told with a keen dramatic, journalistic style (as was Fuller's previous position, along with boxer), the dialog is fresh and involving. There's a spontaneity in many of Fuller's camera moves. And what a third act. This is a lean, tight film-noir that is worth checking out even if you're not familiar with Fuller (it's comparatively less bizarre than some of his later works).", "label": 1, "domain": "movie_review", "token_count": 473, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0241", "text": "One is tempted to define the genre of Gert de Graaff's movie as `event of the thought' following the example of Merab Mamardashvili. The nominal storyline is a certain Bart Klever's torturous quest for that ephemeral substance which constitutes the essence of personality. The script for his new movie is taking shape simultaneously on his computer and in his own imagination. This film-monologue originated as a response to Fellini's `8 ½' and cost Gert de Graaff 13 years of work. Excitedly playing with real and fictional characters as well as with the audience, it reveals the whimsical interconnection of the real and imaginary, the paradoxical co-existence in two different galaxies: that of Guttenberg and that of MacLhuen. For some time we are apt to side with the script writer, who believes that the cause of all misfortune is the damned stereotypes of mass mentality (`man', `catholic', `window washer'). And together with him we fall into a trap when the author-creator is finally faced with the insoluble dilemma: how can one eliminate from the future movie. Bart Klever? Just five minutes before the finale thanks to the common petty reproaches of the wife of the creator, who is deeply immersed in work, we realize that together with the main character we have again been `framed'. Really, what is the price of the art for the sake of which it is acceptable to renounce one's own name and the day-to-day care for the young daughter? So who is he, this Bart Klever? Is he a brilliant prophet or someone possessed like Frenhoffer from Balzac's masterpiece (just like the latter the script writer in the end erases from the computer memory everything has written)? Gert de Graaff suggests that we answer this question ourselves.", "label": 1, "domain": "movie_review", "token_count": 376, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0242", "text": "I love this show and my 11 year-old daughter and I LOVE watching it together. It teaches good old fashioned values in a fun, adventuresome and entertaining way (albeit with a somewhat predictable story most of the time). It's also really fun to make fun of...you know, rewind and insert your own dialog, in place of the actors'. I have my DVR set to record all the episodes and I happened to catch the tail end of an episode (just prior to the next one starting...so I don't know what episode it was) but there was an absolutely TERRIBLE sequencing mistake! Adam had handed Sheriff Coffee a small swatch of \"leather\", which was torn from some outlaw's coat as he tried to make his getaway, I suppose. Well, Roy happened to have the coat, so he laid it out on his desk and placed the swatch right where it had been torn from. The swatch was EXACTLY rectangular...which I reckon would be nearly impossible to tear from a piece of leather (post-1950's Naugahyde? Yes. Leather? I don't think so). Well, the swatch lined up perfectly and the mystery was solved. Not 10 seconds later in the scene, we see the coat again, still lying on Roy's desk. But this time the swatch is more like the shape of North Carolina and is now in a COMPLETELY different place on the coat (but still perfectly aligned with the hole in the coat) and the seam (which WAS smack-dab in the middle of the swatch) is now gone...as is the seam in the coat. My daughter enjoyed a good laugh as we played the short scene over and over and over again! It's prime for youtube, I tell ya! We still totally LOVE the show though and the sequencing errors make it lots of fun!", "label": 1, "domain": "movie_review", "token_count": 379, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0243", "text": "The Power of Kangwon Province is director Hong Sang-Soo's second feature effort and clearly much of what he started with in his previous film returns in this film, including the multiple connected narratives (in this case, two), and stories of troubled or troubling relationships, as well as a potent dosage of irony. One thing that's clearly reduced from his previous work is the flights of fancy that included elements of surrealism. However, this film also contains a single moment of surreal that strikes a contrast against the otherwise rather realistic depiction found therein. The two stories follow a young woman who goes on a trip to Kangwon Province with her friends, only to find herself drawn to a stranger, the second about a man who also goes on a trip to Kangwon Province with his friend and struggles with his relationship woes. Again, Hong shows a strong understanding of irony and of the flaws in human nature and yet I don't think he's entirely unsympathetic when it comes to his characters, drawing in just enough compassion to offset the criticism he draws with his irony. I think the think I've come to love about Hong's films is that they just feel so real, especially the complex and conflicted characters. Not to say that every person is a hypocrite or suffering from confused feelings, but rather, that these characters he and the actors present, feel fully developed and believable. This is not a fast moving film. There's a lot of lingering and like the previous film, things don't always connect immediately so patience does pay off and in surprising ways. There doesn't appear to be any element of the film that isn't intentionally placed in the film and it's made my a little hyper-aware of various seemingly extra characters as they get dragged into the mix as the film progresses. Power is an excellent film that manages to inject a level of personal emotion, regret, longing into a story that highlights irony and the fallibility of human decision-making. It's a rather hard balance to keep and it's surprising how Hong manages to pull it off twice in a row. Technical production values have gotten much better since the first film and direction has gotten steady and clear. This film doesn't pack the same emotional wallop that the first does, but gains a lot in its assured exploration and the refinement really helps tighten the overall vision. Great viewing for art cinema lovers. 8/10.", "label": 1, "domain": "movie_review", "token_count": 479, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0244", "text": "The turning point in \"The Matador\" comes about half through the movie when Danny, an unsophisticated man from Denver, is sitting in the balcony of his Mexico City hotel, enjoying a quiet moment. Someone knocks on his door, and knowing it's Julian, the paid assassin, he refuses to answer. But did he really? Richard Shephard, the director of \"The Matador\", presents us with a character, Julian Noble, who shows no redeemable qualities. In fact, we have already seen him in action, doing what he does best. When Julian meets Danny at the bar of the Camino Real in Mexico City, he spills the beans and tells his new acquaintance what he really does for a living. Danny, who has come to sell his program to a Mexican company, but it seems he is competing against a local outfit that appears to be in the front for getting the contract. Danny is a naive person who falls prey of the charisma and charm doled out by the smarter Julian. It's not until some time later, on a cold winter night that the killer appears at Danny's door asking his friend to repay a favor and accompany him on a trip to Tucson. It's at this point that the secret that binds them together is revealed in an unexpected way. Pierce Brosnan, acting against type, makes a great contribution with his irreverent Julian Noble. Just to watch him walking through the hotel lobby in his Speedo and boots gives the right impression about his character. Greg Kinnear, on the other hand, plays the straight part of this odd couple. Hope Davis appears only in a couple of scenes leaving us to lament why didn't she stay longer. Philip Baker Hall puts an appearance as the liaison between Julian and his assignments. Richard Shephard directs with style working with his own material. The musical score is by Rolfe Kent and the crisp cinematography of David Tattersall enhances everything.", "label": 1, "domain": "movie_review", "token_count": 392, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0245", "text": "One of Cary Grant's most enduring comedies is Mr. Blandings Builds His Dream House. Although judging by the size of it the dwelling would be a dream mansion today. Still Cary was making a good living in the advertising field even though he was having a devil of a time trying to come up with a slogan for ham with the brand name of Wham. What made this film so popular was the housing shortage of the post World War II years. Returning veterans from the war were claiming their entitlements under the GI Bill of Rights which included home loans. The problem was there literally were not enough houses to satisfy the demand. Around the time the book by Eric Hodgins and the film were so popular Congress passed and President Truman signed the Taft-Ellender- Wagner Housing law which put the government for the first time in the home building business. I had an uncle and aunt who were around the same time building their own home which they moved into in the early Fifties. Like Cary Grant and Myrna Loy they had two daughters and were looking to get out of inner city Rochester. Their place wasn't quite as grand as a house in Connecticut with eighteen rooms, still they lived there the rest of their lives the way Cary and Myrna most likely did. Of course it was expensive and the costs just keep adding up and up, threatening to send Cary to the cleaners. Cary and Myrna also have Melvyn Douglas around to offer counsel, usually too late. Truth be told he's kind of sweet on Myrna and Cary knows it. Myrna Loy's role is simply an extension of Nora Charles. If you can imagine the Charles's moving to the country and William Powell having the headaches Cary Grant does, the film would still work just fine. Mr. Blandings Builds His Dream House still works well as comedy because the situations are universal. And this review is dedicated to my Uncle Walter and Aunt Kate who lived in their dream house together for over 40 years.", "label": 1, "domain": "movie_review", "token_count": 401, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0246", "text": "I first heard about this film about 20 years ago when I was a kid in grade school(!), it just so happened that I was thumbing through the encyclopedias in the classroom one day, and under the entry for movies (or cinema, I don't remember), were several stills for different movies from mainstream to experimental, and one of them shown on the page was a still for OffOn. It really intrigued me, since it stood out the most on the page (it was a still from the film of the scene with the eye with other elements superimposed over it). About 18 or so years later, the public library here where I live had available for checkout the whole 4-DVD set of \"Treasures of American Film Archives\" released by the National Film Preservation Foundation. So when I was reading the notes on the DVD cases for the set, I was quite pleasantly surprised to see that OffOn was on one of the discs. After all these years, I could finally see the film! After viewing it, it slightly wasn't was I was expecting it to be (it tended to be a more organic-looking film, not that that's a bad thing, but I was expecting it to have a more electronic aesthetic), but it was still an impressive film, IMHO, considering the techniques Scott Bartlett used to make the film, including hand-tinting the film itself, and using video equipment for some of the film's scenes (filmed off of a video monitor), giving it a more distressed, lo-res look. Don't get me wrong, the techniques used in this film were quite ground-breaking for 1972. That's why it's still one of my favorite short/experimental films, and a creative inspiration for me as well...", "label": 1, "domain": "movie_review", "token_count": 362, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0247", "text": "First, what I didn't like. The acting was not really up to the Hamlet standard. Branagh was really over-the-top, doing a lot of yelling mostly. In my opinion, those actors who were not big-name celebrities generally did a better job; though I would except Billy Crystal and Robin Williams. (And Charlton Heston, too, but I wasn't sure if he was playing at being a hack.) A lot of the ambiguities in the play were clearly resolved one way in the flashbacks. What I think speaks very much in this play's favor is that it is accessible. Shakespeare is hard to understand for the vast majority of people nowadays; many people are not even inclined to try, because of its reputation as Serious Literature and its archaic English. If they see this film they will understand clearly at least one man's interpretation of the play. They will be seeing it more as Shakespeare's audiences saw it: a play with sword fights and battles, and mighty kings and nobles, murder and incest and evil schemes and ghosts--and great art, if one cares to look for it, but in Shakespeare's day most didn't, any more than most people do now. Branagh's overacting, and his forcing of his interpretation of the story on the viewer, may detract from Shakespeare's art somewhat, but it is better that modern audiences get a piece of it, rather than nothing. I've got to say one more thing though. Some people are complaining that \"it's set in the 19th century and that wasn't Shakespeare's time\". Well, in Shakespeare's time their costume and scenery was that of their own day for all of their plays. Shakespeare may have SAID it's in the days of ancient Rome or medieval Denmark or whatever, but he didn't dress his characters up like they were, he used the costumes of his own time. For the same reason his plays are full of anachronisms. For example, in King John the English and French have cannons--in Robin Hood's day. In Julius Caesar they talk of chimneys, which wouldn't be invented for another thousand years, and in Henry IV they talk about Machiavelli, who wasn't even born yet then. So I think this objection is silly--you might as well complain that the play isn't in Danish (after all they live in Denmark don't they?).", "label": 1, "domain": "movie_review", "token_count": 486, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0248", "text": "When I was a kid I watched this many times over, and I remember whistling the \"Happy Cat\" song quite often. All the songs are great, and actually memorable, unlike many children's musicals, where the songs are just stuck in for no real reason. The scenes and costumes are lavish, and the acting is very well-done, which isn't surprising, considering the cast. Christopher Walken is very catlike, and doesn't need stupid make-up, or a cat costume for the viewer to believe he's a cat transformed to a human. And Jason Connery's so cute, as the shy and awkward miller's son, Corin, who falls in love with beautiful and the bold Princess Vera. This is a really fun, enjoyable, feature-length movie, where unlike most fairytales, the characters are given personalities. Some of my favourite parts are when Puss makes Corin pretend he's drowning; at the ball when everybody starts dancing a country dance, as it's \"all the rage abroad\"; when Walken is in the kitchen, dancing on the table (he's a pretty good dancer, too!); and when Vera tells Corin all the things she used to do when she was young, like pretending she was a miller's daughter. I'd recommend this film to children and parents alike, who love magic and fairytales. And it actually IS a movie you can watch together, as it won't drive adults up the wall.", "label": 1, "domain": "movie_review", "token_count": 300, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0249", "text": "It all started with True Heart Bear & Noble Heart Horse get the club to safety. Noble Heart Horse meet Dawn & John & took them to see True Heart Bear. Later, The care meter went down more & True Heart Bear & Noble Heart Horse check to see if it Dark Heart but they can't go unless the club at care for so they ask Dawn & John to care for the club. After True Heart Bear & Noble Heart Horse Come back, They send Dawn & John back to camp. Than the club & cousin bears have grown up to get ready to fight Dark Heart. At the end, Dark Heart kidnap all the care bear & the kids (Dawn & John) have to tell Christy that Dark Heart is evil. Than they work to together to save the Care Bears. Later, True Heart Bear & Noble Heart Horse found out it Dark Heart shadow & return to care land to find that their gone. The Kids (Dawn, John, & Christy) come but they was not powerful to stop Dark Heart. True Heart Bear & Noble Heart Horse come to help Dawn, John, & Christy to free the other care bears but Christy got in the way & was hit by Dark Heart magic. Than Dark Heart saw Christy got hit & stop fighting the care bear in order to help her but he can't because Dark Heart (himself) don't have the power of caring to save Christy. The care bears & the kids help Dark Heart save Christy. Now Dark Heart starting to care & became a real boy to fall in love with Christy. Dark Heart is now a real boy & help out Christy to work out in camp. This is a great move ever & the best Care Bears Movie I ever seeing. I like all the care bears movies & I can't wait to see \"Care Bears: Big Wish Movie (2005)\". Who like this movie?", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0250", "text": "Sandwiched in between San Francisco and Captains Courageous two of Spencer Tracy's greatest parts is this very curious film about war and the effects it has on some people. They Gave Him A Gun stars Spencer Tracy and Franchot Tone in the only film they ever made together and Gladys George as the woman who loves them both. Tracy and Tone are a couple of World War I draftees, Tone is a weak character who almost goes over the hill in boot camp, but Tracy stops him. Tracy is still playing the lovable blowhard, younger Wallace Beery type that MGM envisioned for him when they signed him away from Fox. Over at the front Tone gets an opportunity and takes it when during a fight he manages to get to a church tower that peers down on a German machine gun nest. He's learned to shoot by now and he does a Sergeant York. But Alvin C. York was never changed by the war the way Tone has. Wounded in the fight Tone convalesces at a hospital with Gladys George looking out for him. Tracy goes AWOL himself to visit his pal and he and George get something going. Later on when Tracy is reported missing in action, Tone and George marry. Tracy's brokenhearted when he comes back and learns of the marriage, but takes sit in stride. The rest of the film is dealing with Tone applying the the wartime skills he's learned to the gangster trade. He's a hit-man now and George doesn't really know what he does for a living. I think you can figure the rest out. The part of the film that gave me some trouble is that I can't believe Gladys George couldn't figure it out. She's a street smart girl, her part is very much like the one she played in The Roaring Twenties opposite James Cagney. Speaking of The Roaring Twenties, Humphrey Bogart's character development there is similar to Tone's although he was not the central character of the movie. In fact there are elements of They Gave Him A Gun that are to be found in Taxi Driver and in Clint Eastwood's classic, The Unforgiven. The World War I battle sequences are very well staged by director Woody Van Dyke. For some reason Leonard Maltin panned this film, I think it's a lot better than he gave it credit.", "label": 1, "domain": "movie_review", "token_count": 481, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0251", "text": "In the old commercial for blank audio cassettes, the tag line was \"is it real or is it Memorex?\" The same might be said for the events in this episode - a compilation and remix of \"The Cage,\" the first pilot of Star Trek. Mr. Spock has cleverly commandeered the ship to take it to the forbidden planet Talos IV in order to allow Capt. Christopher Pike, his first captain who has been burned and paralyzed, to return there. Why the finagling? Because to have any contact at all with Talos IV invites a death sentence. Why this is so is never explained - that bothered me tremendously - but, if nothing else, it adds to the story. After he has gotten the ship to travel to Talos IV, Mr. Spock turns himself in to Dr. McCoy (the senior-most officer present; Capt. Kirk was off the ship) for arrest and says, \"The charge is mutiny, Dr.; I never received orders to take over the ship.\" What follows is a court martial in which - thanks to the Talosians - we learn why it was so important (besides the obvious paralysis) for Capt. Pike to get to Talos IV even at risk of Mr. Spock's death. The illusions the Talosians create, the background music and the entire storyline are fantastic. And Meg Wyllie as The Keeper (the head Talosian) is wonderful. Call me sexist but it never occurred to me to have a woman in that role but she was perfect! The Talosians, having given up almost all physical activity and becoming almost completely reliant upon the power of illusion, are also unisex; you can't really tell if they're male or female and it really doesn't matter. This episode, more than almost any other in the series, makes me hope and pray there are other worlds out there and that there are civilizations that are so far advanced! What a neat thing if this were so! This is one of my favorite episodes and, no matter how many times I've seen it (I even have it on video), it never fails to fascinate me. Meg Wyllie LOOKS like an alien and I do NOT mean that unkindly.", "label": 1, "domain": "movie_review", "token_count": 457, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0252", "text": "This period melodrama is one of Griffith's earliest claustrophobic films. Characters trapped within a room are prevalent throughout his work and, as time went by, he would become increasingly adept at portraying their helplessness and involving the audience in their terror. In the bluntly titled Sealed Room there is one major difference to the normal plot line, in that there truly is no escape. Griffith achieves the claustrophobic effect here in two ways. First is his use of space. While the typical Biograph short might utilise a dozen or more sets, The Sealed Room features only two adjoining rooms – the king's court and the dove cote that becomes the eponymous tomb. The set design in these shorts is rarely referenced, but here it is crucial. The court is a large interior, with a backdrop hinting at greater depth and showing us a window and a staircase. Actors enter and leave from various directions, suggesting the room is not only spacious but also free and open. By contrast the dove cote's back wall is very close to the camera, and the angles in it suggesting a hexagonal or octagonal shape make it seem even more confined. The second technique on display here is the cross-cutting. Anyone with an interest in Griffith's work will probably know about his heavy use and development of cross-cutting to build excitement or tension. Many will also know that strictly speaking it wasn't his invention. However what makes Griffith's cross-cuts so effective is the way he paces the opposing images so they complement each other. The Sealed Room contains a good example of what I mean. The shots of the masons shifting the heavy bricks have a slow, step-by-step pace to them, with tension building as the wall gets higher. This movement is matched by the shots of the blissfully unaware lovers, in which Marion Leonard tears off flower petals one-by-one. As the couple realise their predicament, their rising panic is complemented by the opposing shot of the king madly thrashing his sword against the wall. At this point, Griffith was yet to realise that the action could be heightened further by introducing a third strand to the cross-cut. The dramatic \"ride-to-the-rescue\", here absent, was later to become a standard climax to Griffith's pictures.", "label": 1, "domain": "movie_review", "token_count": 464, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0253", "text": "All Dogs Go To Heaven is a movie that I have always liked. When I was a kid, I used to watch this every other day. It is underrated if you look at its IMDb rating and the comments of many people in general. This isn't a bad movie like many say, it is a very good movie. This is good and your kids will probably like it. Even though it's rated G, some parents may find this to be a bit violent. It is actually a pretty dark story, where the dogs are similar to mobsters who are involved in gambling, extortion, and even cold blooded murder. The movie follows a dog named Charlie who had escaped from the pound, is killed by his old friend, goes to heaven, but ends up coming back to earth. Many younger kids watching this movie may feel as though they are watching a big kids movie. There are some scenes that may scare little kids, but I'm sure they'll do fine. Every time I watch this movie, it reminds me of when I was a little kid. I'm sure everyone has a movie that reminds them of when they were younger, this is the movie that makes me feel that way. The performances from Burt Reynolds and Dom DeLuise are great, and this is the last movie that a little girl named Judith Barsi was in. Unfortunately, she was killed at a young age, which is a shame because she had so much potential and didn't deserve what happened. Now that I know her story, I can't watch this movie the same way anymore because her voice sounds so sad. The animation in this movie is great, the voice work is great, and the story is good, but a little bit different from many other kids movies. This was popular at the time of its release, but was over shadowed by Disney's mega popular The Little Mermaid. This is a movie that isn't conceived as well by adults, but if you're a kid, or if you grew up with this movie as a kid, then I'm sure you will enjoy watching it.", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0254", "text": "Movie \"comedies\" nowadays are generally 100 minutes of toilet humor, foul language, and groin-kicking. Modern comedies appeal to the lowest common denominator, the undemanding and slow of brain. Sure, an occasional good comedy will come along, but they're becoming rarer all the time. \"Mr. Blandings Buildings his Dream House\" shows what 1940s Hollywood was capable of, and it's just screamingly funny. Jim and Muriel Blandings (Cary Grant and Myrna Loy) decide to build a house in the Connecticut suburbs. The film follows their story, beginning with house hunting trips, the house's riotous construction, all the way to the finished home--with its \"zuzz-zuzz water softener\". Grant and Loy are perfect for their roles, of course (Grant is particularly funny as he watches the house's costs zoom out of control). However, the film is stolen by the Blandings' wise attorney, played to perfection by Melvyn Douglas. Managing to steal every scene he's in, Douglas is understatedly hilarious while he watches the Blandings lurch from crisis to crisis. Reginald Denny as the Blandings' harried architect and Harry Shannon as the crusty old water well driller are also wonderful. I've watched this movie numerous times and it always makes me laugh. I think it's a good film to watch when you need a lift, whether you're building a house or not.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0255", "text": "I love Korean films because they have the ability to really (quiet eerily really) capture real life. I tend to watch Korean movies just for that reason alone. I've seen this directors other movies before. The one that comes closest to the feelings I got from this is Oasis and another awesome film called This Charming Girl. However, my title summary is supposed to be from a Chrstian perspective so I'll just start doing that instead of just showering it with praise. For a non Christian perspective Director Chang-dong Lee has captured an unbiased and almost eerily real portrayal of a modern Protestant church (regardless of denomination) warts and all. I've always been waiting for a Christian film that truly portrays the darker recesses of church life. Because Christian films tend to speak in a language that is different to those they want to share their faith to. Many films with religious undertones, though having good motives, tend to just have the resonance of a Disney film or after school special. They need to show life as it is. Real people curse, real people lust, real people fall. And though Christians believe that salvation is available to those that seek it, we are still challenged by the everyday horrors of this life. And Do-yeon Jeon's character is a totally honest and almost brutal portrayal of a woman that found God, but because of life's bitter realities, loses that love for Him she once had. She doesn't deny God exists. It is just that she refuses to accept to live with the idea that He is an all loving and forgiving God. In her decent to the edges of morality and madness, her character asks questions that are in the mind of every one, religious or not. \"If God is Love, why does He allow such terrible things to happen?\" This film doesn't answer that, rightly so. And I believe the last 10 minutes of the film, though open to interpretation, leaves us with a hopeful future for our main character and brings the idea of \"secret sunshine\" full circle. I don't believe for a second that this film tried to be religious or had in any way tried and set out to be that. There in lies the reason why it worked even more. It's real, it's honest. And because of that, it is by far the best summation of a real Christian life I have seen on film.", "label": 1, "domain": "movie_review", "token_count": 483, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0256", "text": "THE PERVERT'S GUIDE TO CINEMA (2007) **** If Loving Cinema Makes Me A Pervert, So Be It! If you are a true 'moviefreak' like me then I'm sure you can't get enough of films about film-making and I don't mean necessarily the dry documentary know and then. I mean a total discourse on the film viewing experience. Well if that's the case have I got a lulu of a film experiment for you. In Sophie Fiennes (sister of Ralph & Joseph if you were wondering) has noted philosopher cum cinephile Slavoj Zizek give his analysis on cinema with some impressive (and often outrageous) takes on everything from the silent era of Chaplin thru the modern age of the Wachowski Brothers analyzing, probing, and pontificating about the psychosexual underpinnings, socioeconomic, political and of course indefinable magic of the film going experience with his unflagging, determined and near-frenetic dissertations. To go from explaining how The Bates' house in PSYCHO is actually the mirrored psyche of the conflicted Norman Bates with each level as his Ego, Superego & Id is one thing but then to suggest the same thing about each Marx Brother in barely a beat is a remarkable test of faith that wins over the skeptic layman. Although I had no idea who Zizek was – he resembles a hybrid of filmmaker Brian DePalma, European actor Rade Serbedzija and the hyperkinetic energy of filmmakers Quentin Tarantino and Martin Scorsese – with his sibilant tongue and passion, the host comes across as a mad prophet. Fiennes cleverly inserts Zizek into several of the film clips' backgrounds peppered throughout making for a humorous tone but still lets the ranting and raving continue full throttle giving pause for argument in three acts covering the gamut of films by the likes of Kubrick, Lynch, Hitchcock and films as diverse as THE WIZARD OF OZ, THE RED SHOES, and FIGHT CLUB. There's something for everyone and if one man can provoke an argument or at least a reason to discuss a film's themes – even if they are Freudian/Jungian to a fault – then I say this collection of film theory is worth the watch. Seek it out now if you can before it comes to home video; it's the only way to appreciate it.", "label": 1, "domain": "movie_review", "token_count": 500, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0257", "text": "Rudyard Kipling once wrote that God gave to all people the ability to love the whole world, but given that a human heart is very small in size, every human has that special place that he loves more than any other. It seems to me that this may have been the motto of some of the most eminent directors of today when they set out to profess the eternal love for that special place and depict situations in the lives of its denizens and visitors. The result is a wonderful collection of short films, Paris je t'aime, in which our guides, Van Sant, Coixet, Cuaron, Payne and others take us on a breathtaking stroll through Parisian arrondissements, human feelings, yearnings and expectations. Always some other quarter, always some utterly moving story about ordinary people in search for love, be it in a parking lot, art studio, tube station. And Paris je t'aime is about vast array of loves- love for one's partner, child, parent, for those who meant the world to us but are no longer around, love that needs rekindling, serendipitous love for that stranger as your eyes meet, or love that just is not meant to be...today, but tomorrow- who knows? Nevertheless, this film is not solely about love, but life itself, joy, pain, loneliness, confusion, everyday ups and downs. And its most important quality is the fact that it is not soppy at all, but rather warm and full of hope. I give this film a 9 because the final section of it suggests how some of the stories might further develop, but not all of them and that is the thing that I find missing, and by \"further development\" I do not mean some specific reference to the characters' future. As far as everything else is concerned I can only say- captivating. Makes you want to leave everything behind you, flee to Paris and live those little romances yourself.", "label": 1, "domain": "movie_review", "token_count": 400, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0258", "text": "This was Keaton's first feature and is in actuality three shorts, set in different periods (Stone Age, Roman Age, Modern Age) on the eternal triangle of romance. The stories parallel each other as in Griffith's INTOLERANCE, which this was intended to satirize. The strengths of the jokes and gags almost all rely on anachronisms, bringing modern day business into ancient settings. **** WARNING - SPOILERS FOLLOW TO ELABORATE BEST POINTS ****** Here are the classic moments: Using a turtle as a wee-gee board (Stone Age); A wrist watch containing a sun dial (Roman Age); A chariot with a spare wheel (Roman Age); Using a helmet as a tire lock (Roman Age); Early golf with clubs and rocks(Stone Age); Dictating a will being carved into a rock (Stone Age); The changing weather forecaster (Roman Age); The chariot race in snow -Buster using skis and huskies with a spare dog in the chariot's boot(Roman Age). The above are all throw-away gags that keep us chuckling. There are however unforgettable moments as well: Buster taking out shaving equipment to match girl putting on make-up; The fantastic double take when an inebriated Buster gazes at his plate to discover a crab staring up at him (within one second he has leaped to stand on his chair from a sitting position and leaped again into the arms of the waiter - one of the funniest moments I've ever seen). And that lion - the manicure -just brilliant. There's also an off-color bit of racism when four African-American litter bearers abandon their mistress for a Roman crap game. Kino's print is a bit fuzzy and contains numerous sequences of both nitrate deterioration and film damage- most probably at ends of reels. The Metro feature is scored with piano and flute and borrows heavily from Grieg. Lots of fun and full of laughs.", "label": 1, "domain": "movie_review", "token_count": 402, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0259", "text": "The cast is different and now they took a different approach we have the street smart team \"Networth\" vs . the supposed professional team \"Magna\" but boy if you think the street smart team would have trouble you'd be right. While the Magna team has struggled at times, the street team has simply disintegrated week after week. First some things to reiterate as far as the \"Apprentice 3\" first of it continues the same absurd mentality (from Trump) and the game in this series: if your a good project manager, but you lose, the team will turn on you and you will be fired, despite the fact that your backstabbing teammates are often the ones who do half ass jobs. Simply absurd, that a game show that claims to hire the best candidate actually \"weeds\" out the best while the dysfunctional candidates stab each other until one is left and that person is the best . lol Anyone this season, weve seen a total of cursing, backstabbing and even gay offensive stereotypes carried out as teams try to do campaigns. The list of victims so far Cast Tara Dowdell , Audrey Evans , Danny Kastner those three are the only that I feel were unfairly fired by Trump, the rest really had it coming as they only incited conflict, anger and suffering. It's just amazing as one candidate Audrey Evans said as how she who did a good job was fired and how some of her worthless teammates are still in the game. Yes its the game, it's \"The Apprentice\" where manipulation, backstabbing, and always popular \"everyone gang up on the project manager\" mentality rules. It has been an entertaining ride, though, the candidates are given a wide array of assignments from photo shoots to the construction of mini golf courses, to building of new apartments. Still though it's still the \"Apprentice\" though so all you can do basically is laugh the whole time as the insanity and chaos insues until lucky person is the winner.", "label": 1, "domain": "movie_review", "token_count": 407, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0260", "text": "I question anyone saying they don't care for this movie. Some reviewers have said it didn't have enough action, some said it was too long, etc. Don't listen to them!!! If you like Shawshank Redemption and/or Braveheart, you will definitely love this movie! The acting performances are superb! Tim Roth, John Hurt and Jessica Lang are allsuperb and Liam Neeson does an admarible job and is a very imposing character because of his size. The Cinemaphotography was brilliant and breathtaking. It is onw of the few movies I have seen in my life (along with Shawshank) that was virtually flawless from casting, directing, writing, acting, etc.!!! I was amazed this wasn't in the top 50 or 100 movies reviewed. I felt so passionately about it that I just registered with IMDB so I could let everyone know the real scoop. I have seen this movie about 10 times (each time with a different person) and everyone has loved it! You must be awake and pay attention carefully for the first 30 minutes because they introduce quite a few characters in the beginning. If you have the attention span longer than most of these juvenille kids writing reviews for the movies on this site, than you will love this movie! Come on...all 3 Lord of the Rings movies in the top 9 and the Matrix at #32?!?! That should show you the age range of most reviewers here! This is a top 50 movie!!!", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0261", "text": "Okay, I'll admit it--I am a goof-ball and I occasionally love a really silly comedy. While I have seen more films by Kurosawa, Bergman and Truffaut than practically anyone on the planet, I still have a soft spot for a dopey comedy that doesn't try to be sophisticated but is simply funny. A few such films that immediately come to mind are MONTY PYTHON AND THE HOLY GRAIL, UHF, START THE REVOLUTION WITHOUT ME, STRANGE BREW and the Bill and Ted movies. They all lack snob appeal but only a zombie or professional film critic could dislike them. While BILL & TED'S BOGUS JOURNEY isn't as wonderful as the original Bill and Ted film, it still is great fun. Also, unlike the original, it actually seems to improve with repeated viewing. I remember not loving the film the first time I saw it--possibly because the other movie set such a high standard for laughs. But, every time I see it again I am amazed at all the great moments--particularly those involving the Grim Reaper. And, by the way, this reaper is about as different from Bergman's in THE SEVENTH SEAL as you can get!! In addition to a lot of laughs, this film features some excellent music--one way that it's actually better than the first film. The Kiss anthem at the end is great but so are the rest of the hard rock tunes--provided you aren't an old killjoy like De Nomolos. Great viewing for kids and adults alike.", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0262", "text": "My left foot is an epic outstanding film explaining the life and times of Christy Brown,who had cerebral palsy,a severe disability and had only the use of his left foot,but he was defiant,he managed to become an artist and writer against all the odds I have seen this film a lot of times and each time I see it,I find it equally brilliant each time.I wonder how did this amazing film not win an Oscer for best picture,It is a shambles by the academy awards. Jim Shirdan is to me one of the greatest directors in the world.the screenplay,the music and anything else is excellent in this film. As the film goes on,you would nearly feel your in the brown household as everything occurs.Ray MacAnally and Brenda Fricker are amazing as Cristies parents and Fiona Shaw is equally brilliant as d.r Eileen Cole,who helps Christy on his battle of defiance. The Irish film industry had noting much to its name before my left foot.My left foot was the start of a wonderful period in Irish film. films so powerful and brilliant such as the field,the crying game,in the name of the father and Michael Collins followed my left foot.these Irish films were regarded so highly around the world and were nominated for multiple Oscers and won some,A wonderful period for Irish film.My left foot is a powerful outstanding film. Daniel day-lewis plays the crippled Christy Brown so well and so brilliantly and the same goes for Hugh o Conner who plays young Christy.To me those two performances are two of the best ever film performances,especially Daniel day-Lewis's performance which I would regard as high as Antony Hopkins in the silence of the lambs. Daniel day-lewis has proved in his career that he is an great actor. this is an excellent masterpiece in film,see it!", "label": 1, "domain": "movie_review", "token_count": 368, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0263", "text": "This is a so called 'feel-good' movies, however it made me sad in a way. Why? Because I had the talent, but my parents didn't let me study at the sports academy, as well the fact that at the age of 12 I decided to quit soccer. And soccer is the red line in this movie. Together with the struggle youngsters have with the expectations parents have. An English-Indian girl and her parents, with their traditions and strong family ties, and on the other hand the English family with a daugther who dresses like a boy, and plays soccer... a combination which worries her mother! This movie also lines out the lives of ordinary people, as well as the Indian community in England. It is about believe in your dreams, and live your one life (where did we hear that before). Paraminder Nagra (a beautiful women!) plays Yasminda, a girl who is not interested in boys, new clothes, make-up and the typical 17 year old girl stuff. In contradiction with her sister Pinky, complete the opposite of Yasminda. A real must it is, to see how a young beautiful girl struggles with the traditions of their parents, and finds her luck eventually. With great music from Blondie, Curtis Mayfield, Texas, Melanie C, as well as Indian hit songs. Pleasant to watch, but if you, as myself, ever played soccer, and never made it to the top, then this movie will make you melachonic.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0264", "text": "I think I truly love this film . \"Prix de Beaute\" was originally a silent film but later dubbed into French in 1930. Despite having someone else's voice dubbed over hers, this remains a stunning tour de force for Louis Brooks. The fact that her singing voice is dubbed by the legendary Edith Piaf helps to mollify us purists about the dubbing deception. This is the story of Lulu and we first see her at a resort with her macho boyfriend, Andre (Georges Charlia) and their friend Antonin (Augusto Bandini). Lulu enters the frame as a pair of legs: we see her inside the car changing into her bathing costume. Lulu is very free with showing off her body and this does not sit well with the irksome Andre. When Lulu considers applying for the title of 'Miss Europe' we know that a happy ending is not going to be sitting at the end of Easy Street. The film seems to focus a lot on men ogling beautiful women. We see plenty of bathing beauties and the reactions of the men staring at them. But at the center of it all is the magnificent Louise Brooks. If you don't mind watching films from the bygone eras, then consider checking out this one. Louise Brooks is not a name that most average movie buffs may readily know but as soon as you see her you will be mesmerised and you'll want to know more. Also check her out in 'Pandora's Box' if you can find it. Be wary of the US Kino DVD release. I don't know if their projection speed is correct. A lot of the scenes appear to be shown at too fast a speed. This may have been the way they were shot. I don't know. But since it's the only way to see this film, it's worth swallowing that one minor bitter pill.", "label": 1, "domain": "movie_review", "token_count": 387, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0265", "text": "Movies like this one, and C.R.A.Z.Y., make me very sad for American films with a gay subject matter. With the exception of Parting Glances and Brokeback Mountain, there are few other notable American films with the kind of depth and sincerity as this movie, The Bubble. This movie centers on two men, Noam and Ashwar, an Israle and Palestinian respectively. Their relationship is complicated by the tension between the Jews and Arabs in Israel. Couples, in the early stages of their relationships will struggle with who will call who next, or who will say \"I love you\" first. Noam and Ashwar's early love is complicated by suicide bombings, armed security check points, and racism. While Noam's friends accept and like Ashwar, who is Arab, it is clear that most of Tel Aviv's citizens probably don't. One of the most touching moments, and there are many in this film, is when Noam and Ashwar attend a production of \"Bent\". We, as movie goers, see them watching this play, and the affect it has on the two of them is profoundly captured in their eyes. And ultimately, this touching moment is played out in a very sad way in the finale of the movie. Ohad Knoller and Youseff 'Joe' Sweid are outstanding as Noam and Ashwar. Director Eytan Fox is brilliant in creating a cogent and interesting retelling of the Shakespeare classic Romeo and Juliet. And while most movies today have sex in them, (almost as a sport), this one goes back to the old tried and true version of sex with love and passion combined. It is so refreshing. Also refreshing is seeing two gay men being portrayed as people and not cartoons. There are cartoonish characters in this movie. It just doesn't happen to be the two gay guys for a change. Somewhere on this site I think I read a comparison between this movie and \"Friends\". Well, not really. Yes, these are youthful characters stumbling through their first uneasy steps into adulthood and relationships. But I don't recall getting \"blowed up\" as a backdrop to the insipid story lines in \"Friends\". This is a very good movie. It has heart, and heartbreak. And like all good love stories love does win out. But not in it's intact glory of full bloom . Still, it's a very satisfying movie to watch.", "label": 1, "domain": "movie_review", "token_count": 494, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0266", "text": "This is a generally nice film, with good story, great actors and great songs. The cinematography was unfortunately bad. One of the film's weakest points is the annoying chain of sequences copied from Pretty Woman. Why? Does it hurt to attempt some originality, Abbas? Mustan? Anyone? The film is about a newly married couple, Raj and Priya (Salman - Rani). Priya cannot conceive after an accident she had during the previous pregnancy, and they finally decide to use a surrogate mother, who will carry their child. They pick Madhubala, a vulgar prostitute played by Preity Zinta. The film is not really realistic, I mean, isn't it easier to adopt? And even if they pick a girl, does it mean the man has to sleep with her? Have you heard of insemination? Anyway, I guess if the writers had heard of all this, the film wouldn't have been made, so the concept is apparently intentional. Salman acts very well. It's nice to see him playing a serious character. But his character suffers from unnecessary and cheap dialogues about his great love to his wife and how hard he finds it to sleep with another woman. Come on, it's cheesy and unrealistic. Rani is just about OK; she is generally effective and does try to do something with the role but gets completely overshadowed by Preity Zinta. The film belongs to Preity, who steals the show in a big way with her flawless performance. She makes the transformation from a loud prostitute to a sensitive woman easily and naturally. She lives the film, emotes and makes you love her and admire her at the same time, partly because of her role, partly because of her magnetic and positive personality. This is one of her career-best performances. There is no doubt she is more talented than her industry contemporaries. She just should do more such roles. The film's ending only highlights what I said above. It is tear-jerking, exciting and very well-acted. Watch it for Preity. 7/10 for the film! 10/10 - for Preity!", "label": 1, "domain": "movie_review", "token_count": 432, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0267", "text": "Big splashy film of the Broadway music. Nathan (Frank Sinatra) loves to roll the dice and organize illegal crap games. Blonde loving Adelaide (Vivian Blaine) wants to marry him IF he gives up craps. He decides on one last game when Sky Masterson (Marlon Brando!), who bets big, is in town. He bets Sky that he can't get mission worker Sarah Brown (Jean Simmons) to go with him to Havana. That may sound like a strange plot summary but so is the movie! This is a real mixed bag--there's some wonderful stuff here. The songs are all good and the dancing is incredible. The real show stopper is at the crap game at the end. Also Brando is really quite good here--it might seem strange to think of him singing and dancing but he pulls it off. I have to admit seeing big, bulky Brando pulling off some difficult dance moves was a lot of fun! Also Sinatra is pretty good and Blaine is just wonderful as his long-suffering girlfriend. Her song and dance numbers are definite highlights here. Now for the bad parts--Jean Simmons is a wonderful actress but she's stuck with a drab colorless role and can't do much with it. The movie is far too long at 150 minutes--the scenes between Brando and Simmons really drag and should have been shortened. Also most of the characters speak in very precise English--contractions are never used. Maybe it's trying to be amusing coming out of the mouths of gangsters but I found it jarring and it kept throwing me out of the movie. It's worth catching for the songs and dances but the over length of it does get to you after a while. I give it a 7.", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0268", "text": "It's really rare that you get an inside view at a media deception that has been so widely reported as official \"truth\" and caught so many \"news\" agencies with their pants down. This movie, in my view, deserves every price there is in journalism - it's objective (yes!), courageous and a real \"scoop\". It can do without comment, fake scenes or leading questions - everyone, including Chavez equally gets to make fools of themselves in their own words. The filmmakers \"only\" had to keep track of events and keep their cameras rolling. The Venezuelan elite teaches us \"How to depose of a President and sell it as a victory of democracy\". It's amazing that they lost in the end - so far. From what I know, the biggest TV station involved only got its terrestrial license revoked, they're still broadcasting via cable and satellite. I highly doubt whether George W. or Barack Obama would be that tolerant after an attempted coup. But then, they don't have to worry. The fact that the \"Chavez supporters shoot innocent civilians\" scam was so willingly repeated around the world reveals just how biased the so-called \"free\" (established) media really has become, or has always been, only more so. An important lesson to anyone interested in what \"really\" goes on in the world. The famous \"objectivity\" challenge always comes into play when journalists dare to oppose the mainstream view, or reveal unwelcome facts that accuse \"us\" - it has been true with the effects of the Atomic bomb, the US secret history of spreading \"democracy\" around the world or the Iraq war that, according to Johns Hopkins, has killed 1,3 million Iraquis by now, not to mention the 60,000 Afghans (in 2003) that are never mentioned. To be objective, Saddam Hussein was less damaging to his people than the US. And the US is ready & willing to be more damaging to the Iranians that he was. I'm quite curious about the upcoming trial of some Khmer Rouge leaders before the International Tribunal in The Hague, whether there will be any mention of \"our\" involvement in supporting and training Pol Pot's guerrillas in the 80's, when they had been largely defeated by the Vietnamese. Probably not. All the more reason to turn to the Independent media for balance, if not exposure of fraud.", "label": 1, "domain": "movie_review", "token_count": 483, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0269", "text": "Following my experience of Finland for slightly more than a week, I'd say this movie depicts the nature of the Finnish society very accurately. Especially the young-couple-with-a-baby-having-serious-issues phenomenon is very familiar to me, as I witnessed the exact same thing in person when I was in Finland. The relationships and problems of people, fragility of the marriage institution, the drinking culture, unemployment and the ascending money problem, all are very well put, without any subjectivity or exaggeration. There are some points in the film that are not necessarily easy to comprehend and tie to each other, but the joint big picture is nonetheless rewarding. Not each one of the short stories is exciting or profound, but as said above, the big picture does not fail to deliver the feeling of \"real life\" and captivate the viewer. I happen to think in a calm moment: What is happening in the lives of all these people on the street? Well, this is what is happening. Movies like this are good to feed your imaginative power. It would be safe to assume this film could apply to the life in many countries, but it particularly reflects Finland as it is, and pretty damn well. One comment about the acting: Being the fan of Finnish cinema I am, I've never seen any of these actors on any other movie, but I found the acting in this feature right next door to perfect overall. Maybe not a masterpiece, but a very good try by the entire crew. I'll be keeping an eye on the future releases of the director and the cast.. 7,5 / 10", "label": 1, "domain": "movie_review", "token_count": 325, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0270", "text": "In celebration of Earth Day Disney has released the film \"Earth\". Stopping far short of any strident message of gloom and doom, we are treated to some excellent footage of animals in their habitats without feeling too bad about ourselves. The stars of the show are a herd of elephants, a family of polar bears and a whale and its calf. The narrative begins at the North Pole and proceeds south until we reach the tropics, all the while being introduced to denizens of the various climatic zones traversed. Global warming is mentioned in while we view the wanderings of polar bear; note is made of the shrinking sea ice islands in more recent years. We never see the bears catch any seals, but the father's desperate search for food leads him to a dangerous solution. The aerial shots of caribou migrating across the tundra is one of the most spectacular wildlife shots I ever saw; it and another of migrating wildfowl are enough to reward the price of admission to see them on the big screen. One of the disappointments I felt was that otherwise terrific shots of great white sharks taking seals were filmed in slow motion. Never do you get the sense of one characteristic of wild animals; their incredible speed. The idea of slowing down the film to convey great quickness I think began with (or at least it's the first I recall seeing) the television show \"Kung Fu\" during the early Seventies. An interesting sidelight is that as the credits roll during the end some demonstrations of the cinematographic techniques employed are revealed. There are enough dramatic, humorous and instructive moments in this movie to make it a solid choice for nature buffs. Perhaps because of some selective editing (sparing us, as it were, from the grisly end of a prey-predator moment) and the fact that this footage had been released in 2007 and is available on DVD it is a solid film in its own right. And you can take your kids! Three stars.", "label": 1, "domain": "movie_review", "token_count": 401, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0271", "text": "I'm not great at writing reviews, so I'll just spout my opinions... I loved this series at first. The adventure, the action, the comedy, the drama... I thought it was all brilliant. Anderson, Tapping, Shanks, Judge, Davis... I loved them all. Davis, it seemed, was the fifth-most important person in the cast. Not a big deal. But when his character (General Hammond) left at the end of the seventh season, and Anderson's character (Colonel O'Neill) moved from the field to the office, the quality of the series suddenly fell off a cliff. I don't know whether it's because Hammond was more important that I realized or what, but for some reason, after the seventh season, the series turned to ****. The first seven seasons, though, were awesome. The movie Stargate seemed mediocre the first time I saw it, but it turned out to be, even if this wasn't the original intention, a brilliant setup to the series. I recommend that you watch the movie first, then watch the first season of the TV series, then watch the movie again (you'll have a whole new appreciation of it the second time around, believe me), and then watch the rest of the TV series. The last three seasons of the series aren't nearly as good as the first seven, but that doesn't mean they aren't good. It just means they're a letdown if you've gotten spoiled by the first seven seasons. After you have finished this series, be sure to watch the spin off series, Stargate: Atlantis. It is a worthy successor to this brilliant series. EDIT on 7-18-08: I just found out that Don S. Davis died a few weeks ago. It is a great loss.", "label": 1, "domain": "movie_review", "token_count": 367, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0272", "text": "\"Home Room\" came as a total surprise. Not having a clue as to what it was all about, it paid off big time because it doesn't hold any punches and what we see is how lives are changed by the act of a disgruntled young man who decided to victimize his class mates, who are the innocent victims of his rash actions. Paul Ryan, the director, who is working and editing his own material, is a talented man who is rewarded by some amazing acting all around by his cast. Alicia Browning is an older girl who is trying to graduate high school. She has been away a couple of years and doesn't seem to be in the same wave length of the other students. For one, she is a rebel with a punk look, lots of makeup and a mouth that will cut anyone who dares to come near her orbit. Alicia was among the students in the home room where nine students have died, supposedly killed by her boyfriend. Alicia, we realize, is a wounded girl who has gone through a terrible ordeal in her life, but we are not given any clues to that effect. What follows is the aftermath of the tragedy, as it concentrates on a young woman who has survived it. Deanna Cartwright is a wealthy teen ager who shouldn't have been at the school, at all. When a ricochet bullet hit her, she is hospitalized with more than a wound. She is trying to get over this dark period in her mind but the nightmares don't let her forget. Alicia is made to go to the hospital by the school principal. Since she doesn't cooperate with the police, the head of the school wants her to see Deanna in her terrible state and perhaps she will soften up and will tell the authorities what she knows. Alicia dislikes Deanna, but in a matter of days, both girls will make peace. We don't realize until the last sequence what really happened that horrible day in school. Busy Phillips makes an excellent Alicia and Erika Christiansen is equally good as Deanna. Victor Garber, James Pinkins, Taylor Holland, and the rest of the cast play as an ensemble. The film has an intensity because it's not explicit in showing how the shootings occurred, which helps the tone that Mr. Ryan wanted to give this movie.", "label": 1, "domain": "movie_review", "token_count": 465, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0273", "text": "Tony Hawk Underground came at a point where the series was really starting to lose its luster, Tony Hawk Pro Skater 4 did not live up to expectations and left the series really up in the air on what Neversoft and Activision could do with the series that would be different and interesting. Underground introduced the storymode, which was very cool because it made a whole new world for Tony Hawk Pro Skater fans. Another feature introduced which fans pretty much argued for and that was being able to get off the skateboard, which is nice because now you can actually climb, run, and do all sorts of new things. The levels are good, Neversoft also improved on an issue that started with Pro Skater 3 and that was the length of the level designs. The first two games for the PS1, N64 and Dreamcast were great because the levels were nice and long and some hidden features in some. Pro Skater 3 and 4 were shortened because of a handful of features that were added and really pushed the systems too their limits. In this version, they shortened those features, there isn't as many people wondering the streets, in fact there are almost none in some levels, and the graphics and the skating physics are toned down a little but not a lot. This game does have one con, the storymode is a little short, of course this is Neversofts first time doing this with Tony Hawk Pro Skater, so that is understandable. However, with that being said you will definitely finish this game within a day. Overall, a great addition that was very refreshing.", "label": 1, "domain": "movie_review", "token_count": 326, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0274", "text": "I grew up in Brazil and I used to visit and marvel at the beautiful coast where the movie was filmed. The area is called \"Parati\" and is part of the \"Green Coast\" of the Rio de Janeiro state. It is some 150 miles from the Rio de Janeiro city. This movie brings back to life the world of 16th century Brazil, where Europeans were barely starting to explore the coastline, which was still in pristine state and sparsely populated by various native tribes. French and Portuguese fought each other for territory and for the upper hand on the Brazil wood trade, all the while negotiating with the natives, who also fought each other for whatever reasons. One French misfit (\"a mercenary\") is left to die by his own compatriots but manages to escape and is kept prisoner by an all-naked native tribe. While he is a \"slave\" of the chief, according to the customs of the tribe, he is allowed to live in relative comfort for months until the time is right for him to be killed and eaten in a ritual of revenge. What I love about this film is that it recreates in loving detail the natives' villages and their way-of-life (they walked naked and were cannibals) and asks us to recognize and accept the life in those times as it was: in a gorgeous garden-of-eden, life was messy, violent, full of pathetic superstition and bizarre customs. The Europeans arrive and bring their own problems, including more violence with better weapons and greed. There is no romanticized \"noble savages\" or \"heroic explorers\" here, it is just people trying to survive in a tough world. The movie is neither unduly sympathetic nor dismissive of the natives. From what I know of the subject, the depiction is fairly accurate which adds an air of uniqueness to the project: how many movies have you seen regarding the lives of Brazilian natives and their early affairs with Europeans?", "label": 1, "domain": "movie_review", "token_count": 396, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0275", "text": "This is an incredible comeback from movie director mastermind, Tsui Hark. It is one of a few movies that deserves to come a face to face match to Steven Chow's Shaolin Soccer. From the moment the movie started,there was astronishing backdrops at every edge which were deplicted with superb style. If you are a science fiction or chinese martial arts \"geek\", you'll love the excessive amounts of many 3D effects and realistic computer generated weapons. There, comes a fine performance(as always) from Ekin Cheung who plays \"Sky King\". He teams up with Louis Koo(Red) who i was very impressed by his flexible \"wing\" which deflected incoming attacks. The fighting movements of these actors were proficient in every way. Not only is the action superb but the has a somewhat complex storyline. Many Criticisers of this movie complain of the lack of story/theme or just \"shoved in random bits of debrise\" and even describe as \"The Legend of Poo\". However, the viewer cannot rely on watching Dragon Ballz and other similar Manga Cartoons to understand this movie. Others who are famarialy with \"Wu Xia\" movies will have a better appoach. In due respect. there can be one weakness that could be foreseen. The blow that was deliveried to the enemy at the very last fight scene could of been more substantially and devastiingly made.In spite of all this, its a must see.", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0276", "text": "It could have been better had it been directed by someone with more experience. Shumlin didn't do a bad job but it is not a great work of cinematic art. It is, however, a beautiful movie. I have loved it since local channels used to show it. Graham Greene is one of my favorite writers of the last century. Some pretty bad movies were made from his novels and stories. (Many love \"The Fallen Idol\" but I am not among them. I think I saw \"Brighton Rock\" once many years ago and liked it but maybe I'm simply thinking fondly of the novel.) This is superbly cast. Charles Boyer does not, it's true, come across as Spanish. But he seems to have the perfect temperament for this character -- tired, wary, caring. Lauren Bacall is appealing as the British girl who falls for him. But the supporting players are the best: Katina Paxinou is excellent. Her performance is a little Grand Guignol, but I attribute that to the director. Peter Lorre, whom we first meet as he gives Boyer a lesson in an Esperanto-like universal language, is excellent -- as always. And Wanda Hendrix could break the hardest heart. She comes across as a precocious early teenager. The character wants to be helpful. She does her best. I recommend this movie highly. Not without reservations. The reservation is, primarily, that it is a little stolid. But the story and acting can scarcely be bettered.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0277", "text": "IF ANYONE IS INTERESTED IN OBTAINING A COPY OF THIS FILM PLEASE READ THE BOTTOM OF THIS DESCRIPTION: First telecast by CBS on November 30, 2003, the made-for-TV Finding John Christmas is a sequel to the previous year's A Town Without Christmas, with Peter Falk reprising his role as versatile guardian angel Max. Valerie Bertinelli plays Kathleen McAllister, a divorced small-town nurse whose depression... over the fact that the hospital ER she maintains may be forced to shut down because of a $100,000 debt is briefly lifted when she spots a newspaper picture taken by photojournalist Noah Greeley (David Cubitt). The picture shows an act of bravery performed by Noah's firefighter brother Hank (William Russ), who mysteriously left town 25 years ago and hasn't been seen since. Hank would like to quietly slip back into town without explanation or fanfare, but this proves impossible when Noah's newspaper posts a $50,000 reward to identify Hank, known only to the public as \"John Christmas.\" And there's something, very, very curious about that photo: It also shows a Santa Claus suit seemingly floating in midair without an occupant. That elusive \"Santa\" is of course the angelic Max, who pops up now and again throughout the story in a variety of guises to solve problems, dispense advice, tie up loose plot strands--and even share a musical duet with Kathleen's talented daughter Socorro (Jennifer Pisana). INTERESTED IN HAVING A COPY: WRITE TO ME HERE: IAMASEAL2@YAHOO.COM", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0278", "text": "Having set the sitcom world alight with 'Father Ted' Arthur Matthews and Graham Linehan's next creation was a forgotten gem for the BBC called 'Hippies' Although created by the pair- the six scripts were written by Arthur Matthews alone. Set in London in 1969- Ray Purbs, a hippy, is the editor of an anarchist magazine. His friends are his flat-mate, the very laid back and cannabis smoking Alex, his 'girlfriend' is feminist Jill and the none too bright Hugo. Simon Pegg was superb as Ray, but he is superb in everything he is in. This sitcom had a feel of 'Citizen Smith' about it. Ray was very much like Wolfie Smith, trying to beat society, but failing miserably. At last this sitcom is going to be released on DVD in March, I can't wait to buy it. As it was on in 1999 and has yet been repeated on terrestrial television- my memories aren't too good of the sitcom, yet I remember two episodes really clearly, the first being the opener 'Protesting Hippies' which I thought was a great start- where Ray goes on a protest against sandpaper and the other episode was 'Hippy Dippy Hippies' which I think was episode 4, again quite a clear memory about the Police. Sadly, the sitcom got a negative reaction from viewers (I can't think why). The BBC commissioned another series, but Arthur Matthews decided against it because of the negative reaction. Oh well, I can't wait for the DVD. Best Episode: Hippy Dippy Hippies- Series 1 episode 4.", "label": 1, "domain": "movie_review", "token_count": 335, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0279", "text": "David and Bathsheba is a lavish Hollywood Biblical picture produced out of 20th Century Fox by Darryl F. Zanuck, directed by Henry King and starring Gregory Peck {King David}, Susan Hayward (Bathsheba), Raymond Massey (Nathan), Kieron Moore (Uriah) and Jayne Meadows (Michal). The film is based around the second Old Testament book of Samuel from the Holy Bible. It follows King David, who as a child had slain the giant Goliath, and now we find him in adulthood as the second King of Israel. A tough and assured King, David however has affairs of the heart causing great problems. For once he spies Bathsheba taking a shower {re;bath}, it 's the start of a journey encompassing adultery and betrayal; a journey that will end in the judgement of God being called upon. Typically for the genre, David & Bathsheba is a large, grandiose production. From its excellent set designs to it's positively gorgeous Technicolor photography {Leon Shamroy}, it has enough quality to warrant sitting along side the best the genre has to offer as regards production values. Untypically, tho, the film is sedately paced and relies on 99% of its worth being driven purely by dialogue. This is not one for action fans or anyone who needs some swash to go with their buckle. This is a very humanist picture, in fact lets not beat around the burning bush here, it's a Biblical love story flecked with sins of the heart. But that is no bad thing at all, because breaking it down we find it's very well acted {Peck has a stoic yet vulnerable thing going on real well & Hayward is pushing it to the max}, and it be a fine story directed with knowing skill by the often forgotten Henry King. And although some of the dialogue is admittedly cringe inducing, the character flow is never interrupted as Phillip Dunne's (The Ghost and Mrs. Muir) Oscar nominated screenplay holds the attention throughout. Sometimes a forgotten picture in terms of the Biblical/Swords & Sandals genres (most likely because it is a talky piece that has heart as its main selling point), but really it's well worth the time of anyone interested in the most lavish of genres. 7/10", "label": 1, "domain": "movie_review", "token_count": 475, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0280", "text": "This drama is unlike Sex and the City, where the women have a few drinks and share their sexual encounters with each other. Its much more personal and people can relate to it. Its much more engaging and emotional on a new level than other dramas focusing on women and their lives like \"Sex and the City, Lipstick Jungle....\" Dr. Katie Roden, is a psychologist with a dark secret, she seems much more depressed and guilt ridden than the rest of her 3 friends. She is dealing with the death of her former lover who was her patient while tackling his son's advances on her. Her sombre clothes and empty and cold house convey her inside emotions very well. Trudi Malloy, a widow is battling issues with \"letting go\" of her dead husband from 9/11. And when a handsome stranger, Richard shows an interest in her she is suddenly forced to do a reality check by her friends who suggest that she gets back into dating business. The ridiculous and embarrassing courting scenes between Richard and Trudi are totally funny! It is interesting to note that Richard asks her out the day she gets a millions from the 9/11 board for her husband's death..lets see what his intentions are Siobhan Dillon, a lawyer is fed up of her husband's love making tactics which only involve \"baby making\" (as they are having trouble conceiving) and she quickly falls for her colleague who offer his \"services\" a little too willingly to her and she does not hesitate for long!It will interesting to see whether she will continue her affair or patch up with her husband (played by Raza Jeffrey) Jessica, a real estate business woman is single and is straight, until she organizes a lesbian wedding and has an affair with one of them. Her character is shown as a bold and provocative woman who before her lesbian encounter is having sex with a \"married man\", her colleague. Lets see where her character venture to.... The beauty of this drama is that we are shown 4 totally different women with different scenarios, whose ambitions and inhibitions are shown. Its also a good thing that the drama reveals the fact that sometimes friends lie to each other to be \"safe\"!", "label": 1, "domain": "movie_review", "token_count": 447, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0281", "text": "Robert Altman shouldn't make a movie like this, but the fact that he did- and that it turns out to be a reasonably good and tightly-wound thriller in that paperback-tradition of Grisham thrillers- shows a versatility that is commendable. In the Gingerbread Man he actually has to work with something that, unfortunately, he isn't always very successful at, or at least it's not the first thing on his checklist as director: plot. There's one of those big, juicy almost pot-boiler plots where a sleazy lawyer gets caught up with a desperate low-class woman and then a nefarious figure whom the woman is related with enters their lives in the most staggering ways, twists and plot ensues, yada yada. And it's surprising that Altman would really want to take on one of these \"I saw that coming from back there!\" endings, or just a such a semi-conventional thriller. But it's a surprise that pays off because, oddly enough, Altman is able to catch some of that very fine behavior, or rather is able to unintentionally coax it out of a very well-cast ensemble, of a small-town Georgian environment. The film drips with atmosphere (if not total superlative craftsmanship, sometimes it's good and sometimes just decent for Altman), as Savannah is possibly going to be hit by a big hurricane and the swamp and marshes and rain keep things soaked and muggy and humid. So the atmosphere is really potent, but so are performances from (sometimes) hysterical Kenneth Branaugh, Embeth Davitz as the 'woman' who lawyer Branaugh gets caught up with, and Robert Downey Jr (when is he *not* good?) as the private detective in Branaugh's employ. Did I neglect Robert Duvall, who in just five minutes of screen time makes such an indelible impression to hang the bad-vibes of the picture on? As said, some of the plot is a little weak, or just kind of standard (lawyer is divorced, bitter custody battle looms, innocent and goofy kids), but at the same time I think Altman saw something captivating in the material, something darker than some of the other Grisham works that has this standing out somehow. If it's not entirely masterful, it still works on its limited terms as a what-will-happen-next mystery-Southern-noir.", "label": 1, "domain": "movie_review", "token_count": 497, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0282", "text": "Arthur Bach needs to grow up, but that is unfortunately not the only thing he needs to do. According to his extremely rich father, Arthur has to marry a certain wealthy Susan Johnson or he's cut off from the family money ($750 million dollars worth). The problem is, Arthur doesn't love Susan (though I hear she makes some good chicken) and has just fallen head-over-heels for the waitress and part-time shop-lifter Linda Marolla. Arthur is an interesting fellow. He's really just a big kid, born into riches with at least one person looking after him every second of every day. Working just rubs Arthur the wrong way - he likes to have fun, womanize, and of course, drink. Drinking gives Arthur a sort of Jekyll-and-Hyde complex; and while that gets him into all sorts of trouble, it's absolutely hilarious to watch on screen. Dudley Moore is great here in this film as Arthur, earning an Oscar nomination and Golden Globe win for his performance. Moore is fantastic with the comedic aspects of the film, turning the already funny lines into unforgettable comedic gold, but he is also great in bringing Arthur down to a relatable level and making the character likable. Moore has some help in the co-star department - Liza Minnelli is great as Lina, the spirited nobody who Arthur can't get enough of, and John Gielgud is terrific as Arthur's butler Hobson. Gielgud won the Best Supporting Actor Oscar for his performance in this film, and there's no doubting why. Hobson has a stone-solid dry wit and stuck up attitude, but he's always looking out for Arthur - and Gielgud is perfect in the role. Steve Gordon's 1981 film Arthur is short and simple, but delivers laughs a-plenty.", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0283", "text": "... This isn't the first time Stanley blurred the distinction between genres to such great effect, either. In Dr. Strangelove you had a comedy about a horrific situation, and here the basis is a terrifying scenario which actually yields some very funny moments. Slow-burning madness and attempting to kill one's family isn't hilarious of course, but the dialogue is very knowing (\"five months of peace is just what I want... \") and there is a terrific drinking scene which would be riotous if you included just one type of spirit, but is spine-chilling when you factor in the other. I disagree with those who say that the hotel has a negligible effect on Jack Torrance in the filmed version. The cues Nicholson provides the audience as an actor merely hint at the potential for madness, which is only reinforced when we learn that the head of the family has struggled with alcoholism and is emotionally distant from his wife and son. The environment that he is in, however, then absorbs those personality defects and unleashes them upon his consciousness. In much the same way as buildings are sometimes thought to soak up events that happen there, the hotel feeds on the frailties of a troubled but sane man, and uses his weaknesses against him to eventually take him beyond the point of no return. He may have dormant flaws in his personality before he arrives, but to me the Overlook itself is the trigger that sets them off. Kubrick's cold and detached approach to directing works splendidly for a chilly horror film, and the unpredictable force of nature that is Jack Nicholson teeters all the time between making you giggle and scaring the wits out of you. When he explodes, you won't be sure how far he can go. Together they made a great team and with a blend of their talents gave us a classic. If you want a great viewing experience, then this is an example that well and truly shines...", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0284", "text": "GBS wrote his own screen adaptation of this Nobel Prize winning play but didn't live to see it produced (he had won an Oscar in 1938 for his brilliant adaptation of his 1914 play PYGMALION). When Otto Preminger mounted (produced and directed) this production in 1957, seven years after Shaw's death, he had noted British author Graham Greene do the adaptation and it was a solid choice. Taking a cue from Shaw's own screenplay, Greene uses material from the stage Epilogue to create a framing device to meld the two acts of the play (one early and one late in Joan's story) into a unified and most satisfying whole. Where on stage the shift in tone is buffered with an intermission, here it works just as well with a return to KING Charles Balois's bedchamber (where the man Joan put on the throne is dreaming of the events which led to his current situation), and more material from Shaw's Epilogue - the introduction of the shade of John Gielgud's Warwick (the English \"king maker\"). The majority of the language is solid GBS, and the performances from stalwart Shauvians (like Felix Aymler's Inquisitor or Harry Andrews' de Stogumber) to relative newcomers (the film established Jean Seberg's career) are first rate. It may jar some, only familiar with Richard Widmark's many movie villains, to see him playing a frail and somewhat silly Dauphin, but the performance - oddly top billed - is professional, even if arguably miscast. The symbolism of the opening credits and the director's choice to use the visual vocabulary of black and white filming all serve Shaw and the story well. Go in expecting quality entertainment and you won't be disappointed.", "label": 1, "domain": "movie_review", "token_count": 363, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0285", "text": "I have a thing for old black and white movies of this kind, movies by Will Hay and Abbot & Costello especially as those are my favourites. I picked this movie up on DVD as it was using the same idea as Will Hay's \"Oh Mr Porter\" which is one of the finest comedies ever made. I just finished watching this movie less than ten minutes ago (the movie finished at 12:45am). I find that movies of this kind, to do with Ghost Trains, etc, are best viewed at night time with the lights out. That way you get into the storyline more and night time viewing works well with this movie. The one-liners in the movie may seem a little dated to some viewers, I guess this depends on the viewer. They are not dated to me though. I am 28 and even though I am not old enough to have been around when this movie was first released (my dad was though). I still have a lot of appreciation for some of the old movies of this kind. Sitting in the room in front of the TV with some snacks and drinks and kicking back and relaxing at night while watching these movies, not many things can beat the feeling you get while doing this. It is an escape from reality for a while. I noticed that one of the men in the movie (he has a black mustache) he appears about three quarters of the way through the movie after his car crashes and he is looking for a woman he was followed to the station. This man was in the Will Hay classic \"The Ghost of St Michaels\" as well. Just thought I'd point that out in case no one noticed :). The set pieces in the movie are very atmospheric. Outside the abandoned station looks good and as if there is not a soul for miles in any direction, and the inside of the station is very cosy looking away from the rain storm that is outside. I felt like I would have loved to have been there in the movie with the cast. The atmosphere in this movie is something that is missing from a lot of movies now. It keeps you hooked from the moment the movie starts till it finishes. We need more of this type of movie in todays market. But sadly it could be over looked in favour of movies with nudity and swearing and crude humour. This sort of movie making era (The Ghost Train, Oh Mr Porter, etc) to me is the golden age of cinema!.", "label": 1, "domain": "movie_review", "token_count": 494, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0286", "text": "Either or, I love the suspension of any formulaic plot in this movie. I have re-visited it many times and it always holds up. A little too stylized for some but I fancy that any opera lover will love it. Norman Jewison, a fellow Canadian, takes enormous chances with his movies and his casting and it nearly always pays off in movies that are off centre and somehow delicious, as this one is. I have often wondered at the paucity of Cher's acting roles, whether she has chosen to minimize this part of her life or she does not get enough good roles to chew on. I have found her to be a superb actress who can retreat into a role, as in this particular one or be loud and daring and fierce as in \"Mask\". I found the comedic strokes broad at times ( a hair salon called \"Cinderella\")but this was the whole intent of both the writer and director. Nicolas Page plays the angst ridden tenor of opera, all extravagant gestures, at one point demanding a knife so as to slit his own throat. The Brooklyn scenes are magical, this is a Brooklyn under moonlight, romanticized and dramatic, just like opera. All in all a very satisfying film not to everyone's taste by a long shot, I loved the ending, everyone brought together like a Greek Chorus, every part subtly nuanced and blending with the others, the camera pulling away down the hall, leaving the players talking. 8 out of 10.", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0287", "text": "Kubrick proved his brilliantness again, now in a suspense-horror film based on Stephen King's book titled the same way. Jack Torrance is a man in his forties, married, with one child, and with a past of trouble and alcoholism. The Overlook Hotel in Colorado suspends service during the winter because of its extreme weather, and there is a well-paid job for the person who takes care of the facilities during those five months; and Torrance, who was looking to become a writer, found it perfect. But, the manager advised Torrance about the loneliness in this place during the winter, potentially dangerous, and told him that some caretaker in the past went crazy and murdered his family. Even before they got there, his son Danny, who has some sort of imaginary friend who illuminates him the future (shinning), knew the place wasn't good and didn't want to go. Once they installed themselves in the hotel, things started right but within a month, Jack began acting strange, irritated, and depressed. At this point, we know something is going to happen, but don't know when and how. Scary things happen such as the appearance of two twin girls talking to Danny, and someone who attacked him violently. They are not alone in this place. Later on, Jack started to see other people and immediately felt good with them, like if they were his family; among them the famous psychotic caretaker, Delbert Grady. Grady tells Torrance that he must kill his family because they are \"intruders\" in the hotel. Obeying this order, Jack went for the objective and many of the most scary things I've ever seen happen here. The ending is spectacular and the viewers will stay interested and shocked until the last minute.", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0288", "text": "Even longtime Shirley fans may be surprised by \"Now and Forever.\" The movie was filmed with Paramount studios – not with Shirley's parent company Twentieth Century Fox – in 1934, before Fox producer Darryl Zanuck had perfected the successful Shirley formula (cute songs, cold hearts for her to melt, young couples for her to play cupid to, happy endings). Thus \"Now and Forever\" falls into the category of a Shirley vehicle without the standard Shirley story. It is an awkward position for any movie, but this impressive, talented cast makes it work. Gary Cooper and Carole Lombard star as fun-loving, irresponsible con artists Jerry and Toni Day. The only thing that this devoted yet dysfunctional duo seems to hate more than being together is being apart. When they are suddenly landed with custody of Jerry's young daughter Penny (Shirley Temple), it is Toni – and not Penny, as many believe – who persuades Jerry to give up his criminal career. But Jerry flounders at his desk job, and desperate to prove that he can provide for his new family, he soon returns to thieving and dishonesty. In a standard Shirley device, Penny tries to melt the heart of crusty curmudgeon Felix Evans, the victim of one of Jerry's cons, but her attempt fails, for Evans is revealed to be a con artist himself, and he blackmails Jerry into helping him steal jewels. The drama, gunfight, death, and sorrow that follow all make this film a very unusual one for Little Miss Sunshine. There is no happy ending, no dancing, and only one song sequence (the cute number \"The World Owes Me a Living\"). But this does not mean that Shirley fans should avoid \"Now and Forever.\" Rather, it's divergence from the usual Shirley story make it more interesting and memorable than many of her other films. But beware: You should avoid colorized version of this film, and see it in black-and-white if you can. The color is bright, garish, and unrealistic, and in many scenes, Shirley's famous curls are actually red instead of blonde. Yikes!", "label": 1, "domain": "movie_review", "token_count": 436, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0289", "text": "I have to say that Grand Canyon is one of the most affecting films I've ever seen. I've watched it several times now and I still feel as I did the first time; that this film, by itself, could make up the entire curriculum of a post-graduate course in film direction. A long time ago film trailers used to promise, \"It'll make you laugh, it'll make you cry.\" That's a very trite and shorthand method of describing what Grand Canyon does. It takes you to the best places in human experience and the next moment takes you to the gates of hell. Much of the film is paced to cycle back and forth between people being close to happiness and the same people being close to horror. It's always a short step, too. Just to manage that swing with grace and without making it look false or exaggerated is directorial genius. Spoiler (of sorts) coming up. After getting the audience used to rocking back and forth through the emotional spectrum, the film throws a curve with a sequence that doesn't go from good to bad and back but instead escalates from an ordinary marital spat, through an accidental self-inflicted knife wound that may or may not require stitches, to an earthquake that has the characters run from the house. In the moment of their relief, argument forgotten, cut finger forgotten, the earthquake survived, a neighbor woman calls out that her elderly husband has collapsed. The couple rushes to his aid. I cried when I saw this sequence. I cried every time I saw it. I'm crying now. It isn't sadness that does this to me. It's not a particularly sad sequence. What tears me up is that this few minutes of film was PERFECT. That's PERFECT! Astounding. (end of spoiler) There's so much to say about Grand Canyon. It portrays relatively ordinary people experiencing epiphanies and it lets the viewer experience them vicariously. They aren't showy or overblown and there's no long pause to examine the moment carefully. The film moves on at the pace of life. Even when the characters do try to make sense of what has happened, they are uncertain of what to derive from their experience. Grand Canyon is a very human film.", "label": 1, "domain": "movie_review", "token_count": 455, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0290", "text": "This is how i felt while watching this film. I loved it. It was hilarious. But i did feel a like i was getting sneaky view into somebody's psyche and then laughing as it got twisted around to make an interesting point. A friend put it this way: \"I feel like we broke into somebody's house and are now watching their awful home videos without their knowledge\". Another one of those fact is stranger than fiction pieces of film. \"Groovin' Gary\", the original \"Beaver Kid\", is a small town guy who turns up at a nearby TV station in the hope of getting on film - and he certainly does, though not, perhaps, as he initially expected. With high hopes of fame and significance he invites Harris to come and film a truly awful talent quest that he has organised in his home town - headlined by his own drag act \"Olivia Newton-Don\". Director, Trent Harris, does a brilliant job with this slowly evolving story. Some footage of an awkward kid who wants to be someone morphs, over two subsequent reinterpretations, into the story of freedom from repressed sexual identity in small town America. Harris simultaneously critiques the attitudes of small town America, the cult of celebrity, and the exploitative practices of the film and television industry. Both Sean Penn and Grispin Glover pull out stunner performances. a young Sean Penn is the most evocative - so closely does he follow the actual 'Gary footage', but with strong nuances given to push the sense of the interaction the way Harris wants it to go. In the end the wide-eyed naivety the original Gary is what moved me - when contrasted against these possible interpretations of his situation. A film not to miss. I have not seen anything else like it. Jacob.", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0291", "text": "It's very very funny. You know, just like a comedy is supposed to be. It also looks very very good, like a Hollywood Spectacular should. So, what more do you want? Howz about a very VERY good Sally Fields. She is so much better here than in anything else I've ever seen her in, and she looks so damn good. This movie is all you need to understand why she's a Star. Those eyes! Like a silent movie star, but better. In fact, everyone's eyes are so good. I used to pretend to be a bad TV soap actor with my girlfriend. We'd do that thing where you look real fast from one eye to the other of your partner. They don't do that at all in Soap Dish. Great. The Eyes Have It! (sorry) There's so many terrific performances, its fun just waiting for each of them to reappear. There's a whole workshop going on with Kevin Kline on how to Overact very very subtly. Got that? Yeah, he's damn good. So is Robert Downey, Jr. who has since made sumthin of a career of playing the Slick, Slimy Executive. Cathy Moriarity, while not the most gifted actress, is so charismatic and riveting, especially when she's angry. And even Whoopi Goldberg is decent, her natural timing giving here somewhat flat delivery a little Zing. OK, no Whoopi Bashing, I hear ya. And then, there's the Hair. Soap Dish was made at the end of the BIG Hair Eighties, so the ridiculous doos are like a great character in themselves. They get bigger and sillier, just like your's did. Yeah, we got pictures. Soap Dish is better than I thought it'd be, better that I wanted it to be. I'm sick of Movies that tell me I'm supposed to care about shallow, self centered, semi-talented egomaniacs, ie. TV Soap Actors. Soap Dish seems happy just to have me laugh at 'em. Thank You.", "label": 1, "domain": "movie_review", "token_count": 422, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0292", "text": "Yes, I did, as I sit here red-faced, remembering having felt almost guilty as I watched it a couple of weeks back while my wife chose to watch something as inconsequential (in comparison) as \"Mommie Dearest.\" How does one explain the appeal of \"Batman and Robin\" - I mean the only ones who ever really counted, Adam West and Burt Ward. It was a terrible show, with terrible plots and terrible acting - and, oh yes, it was terribly funny! And the same applies to this \"reunion\" and \"flashback\" movie. Adam and Burt are invited to an auction where the old Batmobile is going to be sold off for charity. But it gets stolen, and our pals (as themselves) jump into their old characters' personas (if not their costumes) and head off to find out what's happened. Along the way they reminisce about the series, and we see how it all came together in flashbacks, with Jack Brewer and Jason Marsden playing the young Adam and Burt of the TV series. It really was quite interesting to get some behind the scenes looks at the old series, and Adam and Burt just stepped perfectly back into character (even though they weren't really in character - well, you'd have to watch it to see what I mean.) It was also great to see Julie Newmar and Frank Gorshin. If you're not a fan of the old series, you'll hate this. If - heaven forbid - you actually thought Michael Keaton and George Clooney made acceptable \"Batmans\" then you'll hate this even more. But if you grew up with Adam and Burt and are still willing to admit that you never missed an episode - well, this one's for you. Yes, it's true - 9/10", "label": 1, "domain": "movie_review", "token_count": 370, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0293", "text": "It was originally meant to be a film that Gene Kelly would star in, but when the makers couldn't get him they got \"the greatest actor in the world\", and the result is pretty good. Basically Nathan Detroit (Frank Sinatra) is having trouble doing what he does best, setting up a high stakes crap dice game, because he needs $1000 to get the place. So to get the money he needs, he has a $1000 bet with old friend Sky Masterson (Marlon Brando) that he can't get Sergeant Sarah Brown (Great Expectations' Golden Globe winning, and BAFTA nominated Jean Simmons) to go with him to Havana. Meanwhile, Nathan is having trouble trying to get rid of the woman who wants him to ask her hand in marriage, Miss Adelaide (Vivian Blaine). Also starring Robert Keith as Lieutenant Brannigan, Stubby Kaye as Nicely Nicely Johnson and B.S. Pulley as Big Jule. An interesting romantic comedy musical, with Brando singing all his own songs, and Sinatra being smooth and cool. It was nominated the Oscars for Best Art Direction-Set Decoration, Best Cinematography, Best Costume Design and Best Music for Jay Blackton and Cyril J. Mockridge, it was nominated the BAFTA for Best Film from any Source, and it won the Golden Globe for Best Motion Picture - Musical/Comedy. Frank Sinatra was number 43 on The 100 Greatest Pop Culture Icons, Marlon Brando was number 30 on The 100 Greatest Movie Stars, he was number 11 on The 100 Greatest Sex Symbols, he was number 4 on 100 Years, 100 Stars - Men, Sinatra was number 35, and Brando was number 1 on The World's Greatest Actor, \"Luck Be a Lady\" was number 42 on 100 Years, 100 Songs for , the film was number 23 on 100 Years of Musicals, and it was number 36 on The 100 Greatest Musicals. Very good!", "label": 1, "domain": "movie_review", "token_count": 414, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0294", "text": "For real film people, this film is a must, since it works as a perfect little allegory for the movies themselves. Janos Rukh/Boris Karloff's science has to do with capturing and projecting light from cosmic phenomena. This light can do harm, or it can be harnessed to do good. On the one hand it blinds his mother, on the other it is used to cure blindness (\"I can see!\" shouts a young girl on whose eyes this light is projected). When Rukh/Karloff is himself poisoned by the uncanny power of this light, we see him actually emitting a ghostly glow on his hands and face like a badly developed negative, drawing attention to the fact that the man we are watching is a projection, an entity viewed on film (only visible, as in a movie theater, when the lights are out). There is a wonderful passage near the beginning where Karloff/Rukh explains his research as being informed by the fact that everything that happens is captured in light which rolls through space for millions of years, as the light from Andromeda was emitted from that Galaxy at a time when the earth was still molten rock. There are passages in the film when this new science is juxtaposed to older cultural vehicles: that of the writer, in the persona of Beulah Bondi/Arabella Stevens; and religion, emblemized in the sculptural figures on the local cathedral Karloff blasts with his projector/ray gun. One has to wonder here if this film was meant to glance at what was going on in Germany at the time, and particularly at Riefenstall's use of film the year before to promote a regime that certainly would go on to do a lot of harm:Triumph of the Will. Happily in the end, Mother (Violet Kemble Cooper) intervenes, reminding Janos Rukh of the first rule of science. If only more movies made you want to stand up in the theater and shout: \"I can see!\"", "label": 1, "domain": "movie_review", "token_count": 411, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0295", "text": "Version: Universal / Hong Kong Legends R4 DVD release. Cantonese / English subtitles Once upon a time, five years ago, the world was obsessed with 'The Matrix', and I was perhaps one of the few fifteen year olds left who still believed that 'Terminator' was better than 'Matrix'. I was but a simple teenage boy, looking for a good action movie, and then there was a shining light on a TV station I had never really watched, a little station known as SBS. One night I noticed in the TV guide that a movie starring Jackie Chan - 'Police Story' would be on later. Being fifteen, and having only seen 'Rumble in the Bronx' and 'Rush Hour', I said... \"WOW AWESOME\" and sat down to watch it, and continually shouted \"WOW AWESOME\" as the movie progressed. Two weeks later, after SBS had shown the 'Police Story' trilogy, I knew I had found my new favourite actor. Jackie plays Chan Ka Kui, a Hong Kong cop who busts a major drug-lord, Chu (Yuen Chor). Chu's secretary, Selina Fong (Brigitte Lin), is being held by the police as a witness against Chu, and Chan is assigned to protect her. Things go bad - reaaaal bad - when Chu's case is dismissed and he decides he wants Fong and Chan dead. 'Police Story' is one of the greatest action movies ever, and certainly one of my favourite Jackie Chan films. It starts off strong, and ends with one of the most incredible action sequences ever filmed. Everything in between is great. However, some of the funny parts may seem a little tasteless to more than a few people... As a story, this is still one of Jackie's better efforts. For an action movie, the story is pretty good, and Jackie is a much better actor in this than he is in the acting & plot intensive 'New Police Story'. This isn't 'Miracles', but maybe that's a good thing. 'Police Story' is one of Jackie's finest works. It got me hooked on Jackie Chan movies, and should provide a nice start for any potential Jackie fans. The bad news for anyone who sees this first is that Jackie Chan movies don't come much better - 10/10", "label": 1, "domain": "movie_review", "token_count": 478, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0296", "text": "This is essentially a variation on House Of Wax ,in both the plot and the type of role played by the star of both movies ,Vincent Price.In both pictures he plays a talented artist who is sent toppling over the edge into insanity when his creations are usurped by other,less talented and less scrupulous people .In this movie he plays a designer of illusions for stage magicians who aspires to set out on a performing career himself only to be frustrated when another illusionist ,the Great Rinaldo (John Emery)insists that he honour his contract and give him first choice of any illusions he designs.Price is already ill disposed towards Rinaldi as his former wife is now a paramour of Rinaldi. He deploys his talents as an illusionist and as a brilliant mimic to avenge himself upon Rinaldi and others who thwart his plans for recognition as a performer and a designer. Price is pretty much the whole show here and gives a well judged star turn as a wronged man whose predicament earns audience sympathy.The rest of the cast are competent if colourless and the weight of the whole venture falls on Price who carries the burden with ease . Good solid B Movie melodrama , this is a crime movie rather than a horror picture and is enjoyable providing you don't expect a masterpiece .Shot in black and white it is low on gore and is best seen as melodrama and enjoyed for the presence of its star giving an idiosyncratic performance", "label": 1, "domain": "movie_review", "token_count": 300, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0297", "text": "I nominate this and BABYLON 5 as the best television sci-fi series made. Both stand out in my mind because unlike early STAR TREK series, there is a consistent evolution of plots and characters. If you look at the original STAR TREK and STAR TREK:TNG, they were fine shows, but there was no overall theme or plot that connected all the episodes. In many ways, you could usually watch the shows totally out of sequence with no difficulty understanding what is occurring. This was less the case with DEEP SPACE 9 (with its giant battles that took up all of the final season) and the other TREK shows, as there was more of a larger story that unified them. This coherence seems to have developed as a concept with BABYLON 5 and saw this to an even greater extent with SG-1. The bottom line is that in many ways this series was like watching a family or a long novel slowly take form. Sure, there were a few \"throwaway\" episodes that were not connected to the rest, but these were very few and far between and were also usually pretty funny. And speaking of funny, I loved that SG-1 kept the mood light from time to time and wasn't so dreadfully serious. In this way, I actually enjoyed it more than BABYLON 5. Jack O'Neill was a great character with his sarcasm and love of Homer Simpson--it's really too bad he slowly faded from the series in later seasons. To truly appreciate SG-1, you should watch it from the beginning and see how intricately the plots work. This coherence gives the show exceptional staying power. And, if you don't like SG-1 after giving it a fair chance, then sci-fi is probably NOT the genre for you.", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0298", "text": "Scientist working frantically in seclusion finds a way to locate the impact crater of a meteor carrying a new radioactive element. All (pseudo)science and breakthrough technology talks of the 1930s are right there, including the idea that radioactivity could heal any illness if properly harnessed. When he summons his rivals -who had cast him out of the scientific community and ridiculed him - to witness his discovery, they propose a 'joint' expedition to Africa...of course they end up stealing much of dr. Rukh's original discovery, giving him only residual credit. In addition to that, an effeminate weakling who looks like a supporting comedy actor from the worst Abbot&Costello (Lawton) literally steals dr. Rukh's young trophy wife (Drake), who falls head over heels for that scrap of a human being. Having grown horns like a deer wasn't going to make dr. Rukh (Karloff) any friendlier, so he embarks in an undercover revenge mission...killing 2 of his foes and friendly dr. Benet (Lugosi), the only one who had helped him...finally succumbing to the deadly radiations that had allowed him to embark in his revenge to start with but ( to my utmost dissatisfaction ) sparing the adulteress and that poor excuse for a human being she had married. Acting is mostly fine, with Karloff & Lugosi being very good. Check the hysterical chambermaid scene... Other characters aren't worth mentioning... Recommended, much like ALL old Universal horrors...", "label": 1, "domain": "movie_review", "token_count": 320, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0299", "text": "Charles Boyer is supposed to be Spanish, and he's come to London to buy coal in \"Confidential Agent,\" a 1945 film also starring Lauren Bacall, Katina Paxinou, Peter Lorre, Dan Seymour, and Wanda Hendrix. Boyer is Luis Denard, and everyone is out to stop him except Bacall. His papers are stolen, he's accused of murder but he's determined to get coal for his people so that they can fight the Fascists. This film has its good and not so good points. It rates high for atmosphere and for suspense, and it is highly entertaining. Bacall is incredibly beautiful, Boyer is passionate, Paxinou is mean, Lorre is slimy, Hendrix appropriately pathetic, and Seymour outrageously wonderful. The not so good points: Bacall is supposed to be English, and Boyer Spanish. Uh, no. Boyer is terrific in his role even with the wrong accent, but Bacall is 100% American, not of the British upper class. The two have no chemistry. Conclusion: Bacall is somewhat miscast. Her acting isn't up to snuff either; she's better in other films. But she's an astonishing looking woman, and much can be forgiven. Paxinou is nearly over the top and hateful. Dan Seymour almost steals the entire film as a hotel guest who studies human nature. It's a great part and his performance is perfect, while some of the direction of the other actors isn't as good. This was definitely a case of no small parts, only small actors. Seymour wasn't a small actor. Definitely worth seeing even with its flaws.", "label": 1, "domain": "movie_review", "token_count": 337, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0300", "text": "The Neil Simon's Sunshine Boys starring Walter Matthau and George Burns is a funny comedy on the strange bond to the life and its shortness, but the laughter always bitter taste. Seeing Willy Clark(Matthau) and Al Lewis(Burns) two big theatrical comedy actors now reduced on the imbecility from the hard and unceasing old age you can feel only anger and blue. Willy not ever surrender and continue to look work, while Al is tired for players and he is retired to the country in the house to his daughter. The couple in his old time was truly funny and harmony, but out the scene was a continue squabble and to quarrel, and for eleven years after their broken they not talk between. Now if they would work, they must return together another time for do one of his best old sketch for a comedy story TV show. The meets is explosive and liberating for the old questions . The Neil Simon's screenplay give a certain corrosive spirit to the story and the melancholy and blue overwhelming the many gags and laughter succeeded to generate a good mix also thanks to a great couple Walter Matthu(Nomination Academy Award as Best Actor) and George Burns(Won the Academy Award as Best Support Actor). The two actors are very believable and real and the their harmony seems almost as they real work together for all that time and that realty they not bear between them. The movie is very touching also for its all consuming reality as the story is narrate and how the report Love-Heat that bind the two actors is totally real part to the strange but at the same time ordinarily comprehensible things to the life. My rate is 7.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0301", "text": "The story of \"A Woman From Nowhere\" is rather simple and pretty much adapted right out of a Eastwood Spaghetti Western: A mysterious stranger comes into a lawless town run by a kingpin and starts shooting up the place. Even the opening credits and music have that spaghetti feel: Sergio Leone and Ennio Morricone would be proud. The really interesting twists are that the stranger is a beautiful (!) woman, Saki (Ryoko Yonekura) on a Harley, and the location is in a town somewhere in Japan. In this actioner, there's a considerable amount of gunplay, some of it good, some predictable, and other spots somewhat hokey, but it's a whole lot of fun. Ryoko handles her guns with believability and aplomb and gives the thugs their due. It wasn't much of an acting challenge for her as it was a physical challenge, but she handled things very well. She shows her acting skills much more as Otsu in the NHK drama, \"Musashi.\" I'd highly recommend film if you're a Ryoko Yonekura fan (which I adoringly am) and/or a \"girls with guns\" movie fan and it does hold up to repeated viewings. To me, there's something eminently and inexplicably appealing about \"girls with guns\" movies like \"La Femme Nikita\" and \"The Long Kiss Goodnight.\" And to have a gorgeous gal like Ryoko starring in it as well is just gobs of icing on the cake.", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0302", "text": "I am quite the Mitchell Leisen fan so it was a great anticipation that I rented this movie but the print I got was extremely bad, so worn down from use and scorched seemingly beyond repair, the movie was so dark. So dark that in certain scenes that are cinematographed in the dark, you can't see a single thing. That said, I believe I share the same opinion as the first review of this movie. It starts out unusually and does not tote the lines and rhythms of your typical Hollywood 30's movie. Heck, not even your typical Hollywod movie of any era. It seems the director has been influenced by the Europeans because there is a certain caustic realism to the proceedings from the opening shot which is so crafted in camera movement and placement as Maggie (Carole Lombard) and Skid (Fred Macmurray) meet. You half expect them to start singing \"Make believe\" from Show boat.It starts with a few laughs and poor Anthony in a one scene role where he speaks not a word of English gets slapped around by Freddie. Skids is a bum who doesn't care that he's a bum. That's why he signs up in the army where he can hide from the world. He's just been released though and in a set of screenplay shenanigans, she misses her boat for New York. This is when the movie kicks into high gear and we begin to get those French movie of the sixties vibes to the whole proceedings. The scenes are so well acted by Lombard and Cecil Cunningham, the movie gains a pulse. MacMurray is good too as he and Lombard fall for each other as she nurtures his talent for the trumpet. Then the temptress arrives in the form of Dorothy Lamour. Enough with plot. The movie has fantastic montage sequences that dazzled me. They are very good. And Lombard scores a home run in this movie but in the second half, a bit more is called of Freddie and he fails to deliver the goods. With a heavily melodramatic ending and an actor you don't believe, the movie falls short but since it is not your typical movie in structure, set design, and direction. It is worth a look. For what is what it was one of the 37 hits of the 1936-37 season. I don't know its exact rank though.", "label": 1, "domain": "movie_review", "token_count": 480, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0303", "text": "Seeing \"Moonstruck\" after so many years is a reminder of how sweet and sensationally funny this film was when it first appeared. Who knew that Cher could act? Who had ever heard of Olympia Dukakis? Nicholas Cage was the beginning of his career, and Vincent Gardenia and Danny Aiello were not known for their comedic talents, nor was Norman Jewison the director. The only really flat note in this splendid work is \"When the Moon Hits Your Eye Like a Big Pizza Pie, That's Amore,\" a song that is sung too many times in the movie (once is already too many) and that went on to have a long afterlife in popular music. Cher is -- forgive me -- sensational as Loretta Castorini, a widow who wants to be married and does not have to be in love with the groom. Aielo (Johny Cammareri) obliges by proposing, offering her his pinkie ring as a substitute for an engagement ring, then rushes off to Sicily to be with his dying mother. He charges Loretta with seeing to that his estranged brother, Ronny, attends the wedding. Loretta confronts Ronny and quickly falls in love with him. Meanwhile, her father (Vincent Gardenia) is cheating on her mother (Olympia Dukakis), which Loretta accidentally discovers when Ronny invites her to the Metropolitan Opera. Everything works out in the end, as it inevitably does in films of this genre. In the meantime, all the actors acquit themselves admirably and the audience enjoys itself. In its way, \"Moonstruck\" is how Hollywood used to be at its best: rollicking entertainment with no social significance whatsoever. If they'd only lost \"That's Amore\" along the way, it would have been perfect.", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0304", "text": "There were a lot of things going against this movie for me before I watched it. First, I was a typical high school senior, in a Shakespeare class I didn't really even like, much less understood half of! Shakespeare would be no more than UNINTELLIGIBLE without me pouring ALL my concentration into his almost encrypted plays... encrypted with his extremely difficult to understand language.... and then I still wouldn't get most of it. Second, it was 4 hours long! I never thought that could be a good thing. Well let me tell you something. This movie was so masterful, so beautiful, I actually understood all the language as it was being performed. Now, the script was followed to the letter in this movie, the same script that was incomprehensible to me in Shakespeare class. And here I was my mind opening and me understanding it. I was doubting myself while watching the movie almost! But lo and behold... when performed, and only then, Shakespeare comes to life. So this version of Hamlet showed me that Shakespeare is indeed a master, who wrote great stories. When I saw it on the big screen, especially in the high budget major motion picture style (with beautiful cinematography and photography), and acted amazingly by Brannagh and cast, somehow.... I understood what was going on. What was being said. The language is awesome and passionate. It allows for more raw emotion... when words can't describe something, maybe Shakespeare's words can. I still hold to this day that Fist of The North Star (animated, english dub) is the greatest movie ever made. No movie provides more sheer entertainment. But for a movie to come close to dethroning Fist from that position (which Hamlet did -- it came close) is truly amazing.... awe inspiring. It wasn't a movie. It was an event. Even more amazing, it made me appreciate shakespeare. Wow. Powerful. Powerful is the word. One of the rare, TRULY powerful movies out there. This gets 2 hundred trillion stars out of infinity stars. Yes yes. By the way, all you kids out there in a Shakespeare class... forget it. You're wasting you're time. You have to see the plays performed. Only then will justice be done to them.", "label": 1, "domain": "movie_review", "token_count": 465, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0305", "text": "Gordon Parks, the prolific black Life magazine photographer, made a true ticking-timebomb of a movie here - one that does not mess around! Based upon the true story of two NYC cops - later dubbed Batman and Robin - who singlehandedly employed radical tactics to clean up their precinct neighborhood of drugs, this is a cop-buddy movie before that term became a repetitive formula. Lightning paced, there is not one unimportant throwaway scene here. Man, early '70s NYC must have been a terrible place to be a police officer, from the looks of movies like this and \"Serpico.\" These two cops start out as safety-division rookies, busting dealers in plainclothes in their spare time. But instead of receiving applause from the city police department, they receive nothing but resistance and antagonism from their peers. They have to singlehandedly navigate a minefield of police and legal corruption, boneheaded assignments meant to keep them from their work on the streets, ruthless drug kingpins, and a nasty ghetto neighborhood. Both David Selby and Ron Leibman are fantastic in the leads; part of the entertainment is watching Leibman's eyes darting around crazily in every scene in what is a flawless comic performance, and Selby's acting is low-key and wry. These two make all the comedy aspects of the story work - displaying a palpable frustration mixed with gutsy determination. Director Parks, who was already known for his coverage of controversial subjects in his photography, does not shy away from the grittiness of the story. Rather, the movie is uncompromising in portrayal of the toughness of the world of police and streets criminals that these two men inhabit. Adding to this realism is the fact that the real Hantz and Greenberg acted as technical advisors for the film, and even appear in surreal cameo roles as two fellow officers who ridicule the protagonists. It is a real tribute to the effectiveness of Parks' direction that he manages to perfectly balance this depressing mileu with bright comedy. Why has MGM/UA let this sit on the shelf for 30 years - barely giving it a home video or DVD release in the U.S? It is a minor masterpiece from the 1970s.", "label": 1, "domain": "movie_review", "token_count": 452, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0306", "text": "So much has been written about the film's plot, the wonderful acting performance, the script, the melancholy, bittersweet atmosphere, the superb direction - what can I add? Just watch for one of the most heart warming, beautifully acted, poignant scenes ever filmed. It is Christmas eve and Frank Morgan's character (the owner of the shop - Mr. Matuschek)is recovering from his broken marriage and a suicide attempt. As each of his employees leave he invites them to a Christmas dinner. Each and everyone of them politely turn him down. They all have plans for their own Christmas eve. At this stage there is a deep sadness to this moving scene. Frank Morgan gives the performance of his career and this scene easily brings me to tears. Thankfully we have a happy denouement to this very special scene. The new employee, the errand boy, is the last to exit the shop into a beautiful snowy street scene. Desperately Mr. Matuschek approaches this boy and asks him how he would love to spend the evening with him, he will treat him to all the wonderful Christmas food that this errand boy has probably never seen!The chap is overwhelmed, he too is obviously as lonely as Mr. Matuschek and together they can have a wonderful Christmas meal. Every time I see this scene it moves me. If you manage to get the delightful DVD look at the great trailer with Frank Morgan introducing himself as Mr. Matuschek and an appearance by the director of the film- the talented Ernst Lubitsch. This film is a joy from beginning to end.", "label": 1, "domain": "movie_review", "token_count": 326, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0307", "text": "Being that I am not a fan of Snoop Dogg, as an actor, that made me even more anxious to check out this flick. I remember he was interviewed on \"Jay Leno,\" and said that he turned down a role in the big-budget Adam Sandler comedy \"The Longest Yard\" to be in this film. So obviously, Snoop was on a serious mission to prove that he has acting chops. I'm not going to overpraise Snoop for his performance in \"The Tenants.\" There are certainly better rapper/actors, like Mos Def, who could've done more with his role. But the point is Snoop did a \"good\" job. He can't seem to shake off some of his trademark body movements and vocal inflections, but that's something even Jack Nicholson has a problem doing. The point is I found him convincing in the role, and the tension between him and Dylan McDermott's character captivating. McDermott, by the way, gives the best performance in the film, though his subtle acting will most likely be overshadowed by Snoop's not-so-subtle acting. Being a big reader and aspiring writer myself, I couldn't help but find the characters and plot somewhat fascinating. It did aggravate me how Snoop's character would constantly ask McDermott to read his work, and berate him for criticizing it. But you know what? I'm sure a lot of writers are like that. His character was supposed to be flawed, as was McDermott's, in his own way. My only mild criticism of the film would be its ending. For some reason, it just felt too rushed for me, though the resolution certainly made sense and was motivated by the characters, rather than plot.", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0308", "text": "I can't believe how many people hate Hal Sparks! He was my favorite host of the show, hands down. I hate celebrity gossip and generally dislike talk shows, but when Hal Sparks hosted Talk Soup, it was must see TV for me. I rarely missed an episode during his run, and was saddened when the guest hosts started pouring in (although most of the guests still did a fine job). Anyway, for all the people who dislike Hal Sparks, I imagine they must have never seen the weekend specials. They were hour long episodes of Talk Soup that comprised the best clips from the entire week, and were padded out by sketch comedy bits. The original bits that Hal Sparks did were hilarious. In one he got possessed by a bad comedy demon, and in an exorcist like scene his head spun as he told dated jokes about airline food. One episode was dedicated to making fun of Multiplicity, as a bunch of cloned Hal Sparks kept multiplying through out the episode, over-running the studio. OK, maybe these don't sound as funny when I describe them, but all I know is that besides Talk Soup, the only other two shows I watched consistently during those years was The Simpsons and Late Night with Conan O'Brian. So if you like the comedy stylings of those shows, then you'd probably like Talk Soup during the Sparks years. That said, Henson and Tyler were both great hosts as well. All three hosts brought something different to the table but they were all fine comedians in my opinion. Of course, throughout the Tyler and guest star years, my interest in this show began to wane, but every now and then I catch The Soup, the show's spiritual successor, and sure enough, the new host can bring some pretty unexpected laughs from time to time. OK, I've wasted enough time talking about a TV show that isn't on the air anymore and on a channel that I generally despise. Go watch something else!", "label": 1, "domain": "movie_review", "token_count": 394, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0309", "text": "\"The Plainsman\" represents the directorial prowess of Cecil B. DeMille at its most inaccurate and un-factual. It sets up parallel plots for no less stellar an entourage than Wild Bill Hickok (Gary Cooper), Buffalo Bill Cody (James Ellison), Calamity Jane (Jean Arthur), George Armstrong Custer and Abraham Lincoln to interact, even though in reality Lincoln was already dead at the time the story takes place. Every once in a while DeMille floats dangerously close toward the truth, but just as easily veers away from it into unabashed spectacle and showmanship. The film is an attempt to buttress Custer's last stand with a heap of fiction that is only loosely based on the lives of people, who were already the product of manufactured stuffs and legends. Truly, this is the world according to DeMille - a zeitgeist in the annals of entertainment, but a pretty campy relic by today's standards. TRANSFER: Considering the vintage of the film, this is a moderately appealing transfer, with often clean whites and extremely solid blacks. There's a considerable amount of film grain in some scenes and an absence of it at other moments. All in all, the image quality is therefore somewhat inconsistent, but it is never all bad or all good – just a bit better than middle of the road. Age related artifacts are kept to a minimum and digital anomalies do not distract. The audio is mono but nicely balanced. EXTRAS: Forget it. It's Universal! BOTTOM LINE: As pseudo-history painted on celluloid, this western is compelling and fun. Just take its characters and story with a grain of salt – in some cases – a whole box seems more appropriate!", "label": 1, "domain": "movie_review", "token_count": 349, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0310", "text": "William Powell's final outing as Philo Vance occurs in The Kennel Murder Case where the murder of a championship show dog leads to two more murders and one attempt of the human kind. It's all in the figuring out of how that leads to the who and why. The Philo Vance murders by S.S. Van Dine were most popular at the time and the clever Mr. Van Dine figured out a way to sell his books one at a time to the highest studio bidder. This is why you see so many Philo Vances and so many studios putting them out. Had Bill Powell not gone on to greater fame with MGM as Nick Charles of the Thin Man series, he would have been known as the greatest of Philo Vances. It turns out that Powell had entered his little terrier Captain in the same contest where the murdered dog was entered and then another rival owner became the first murder victim. As usual Powell shows up Eugene Palette as Sergeant Heath whose biggest contribution to the proceedings was using his bulk to break down the locked from the inside door where the first murder victim was found. I did say locked from the inside and it was an upper story so it was in figuring out the how. Powell has a lovely group of suspects, as extensive as what normally is in a Thin Man mystery. People like Paul Cavanaugh, Helen Vinson, Ralph Morgan, Mary Astor, fill their cast roles well. Warner Brothers liked this version so much that in fact they remade it again in the Thirties with James Stephenson in his one and only outing as Philo Vance. It doesn't hold a candle to this one. As this is the only Powell Philo Vance that is out on VHS or DVD by all means see this one or acquire it if you can.", "label": 1, "domain": "movie_review", "token_count": 361, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0311", "text": "I'm glad that this is available on DVD now. This film is an excellent example of the triumph of content & style over empty-headed flashing lights & constant loud noises. Essentially, if you have a short attention span or lack the wit & imagination to engage with literary narrative you won't like this film. The reasons for this are quite simple, but unfortunately rarely achieved: Matthew Jacobs has done a fantastic job of transposing the story of Catherine Storr's novel 'Marianne Dreams' successfully to a screenplay. An unenviable task as anyone who has seen a film of a book will undoubtedly know. The casting is excellent, allowing director Bernard Rose to use the actors in a way that is rarely seen now; they indulge in the craft of acting! I know, I know, actors doing their job & acting instead of resorting to mugging inanely at the camera lens whist a kaleidoscope of car chases, explosions & fire fights break out around them is a genuinely rare treat, but it does actually happen in this film. This brings me to the final reason that this is a film for the imaginative thinker & not the spoon-fed tabloid reader - Apart from a solid script, direction & acting, it relies on atmosphere, suspense & implied horror. If it is to be categorized as horror then the presentation of 'Paper House' is more in the vein of Sophocles than Tobe Hooper. In conclusion then, if you like lots of loud noises, explosions, constant cuts, & bright flashing colours you'd be better off watching 'Transformers', but if you like a suspenseful story which unfolds through a skillful & evocative use of narrative without insulting your intelligence by force feeding you cacophonous nonsense then this might just be your thing.", "label": 1, "domain": "movie_review", "token_count": 359, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0312", "text": "If you are a Crispin Glover fan, you must see this. If you are a Sean Penn fan, you must see this. If you are a movie fan in general, you must see this. If you have no idea who Crispin Glover is and you have no idea who Sean Penn is, this film will probably still have a lot of value, but the more work you've previously seen by Crispin or Sean, the better. This movie is so funny, but it is also pure genius. There is nothing that I know of that resembles this film. It is its own genre. I doubt that anything like it will ever be made again. I cannot say anything more about exactly why without partially spoiling it, and some of the other reviews here have already done a good job at doing that. In response to any of the reviewers here that gave it a bad review, I ask that you view the film again. In reality, there is no point at which this film could fairly be called \"boring.\" This is possibly the funniest, most entertaining, and least boring film ever made. And it only gets better with age and repeated viewings. A timeless classic that, unfortunately, very few will be able to claim to have seen. Beaver Trilogy is the brilliant work of director Trent Harris, also responsible for the amazing Rubin and Ed, which Crispin Glover also stars in. Unfortunately, copies of this film are rare and hard to find. I managed to find a VHS version after some diligent searching though, and there are a couple of ways to find it that I know of. But I really wish someone would put this onto a DVD.", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0313", "text": "I first saw this film when I was about 8 years old on TV in the UK (where it was called \"Laupta: The Flying Island\"). I absolutely loved it, and was heartbroken when it was repeated a while later and I missed it. I was enchanted by the story and characters, but most of all by the haunting and beautiful music. It would have been the original English dubbed version which I saw - sometimes erroneously referred to as the \"Streamline Dub\" (the dub was actually by Ghibli themselves and only distributed by Streamline) which is sadly unavailable except as part of a ridiculously expensive laser disc box-set. Unfortunately I feel that the release has been partly spoiled by Disney. The voice acting is OK but the dialogue doesn't have the same raw energy that the \"streamline\" dub or the original Japanese had, and I think James Van Der Beek sounds too old to play the lead. They have made some pointless alterations, such as changing the main character's name from \"Pazu\" to \"Patzu\", and added some dialogue. But worst of all I feel that they have ruined many scenes with intrusive music - the opening scene of the airships for example was originally silent but has been spoiled thanks to Disney's moronic requirement that there be music playing whenever anyone is not speaking, which I find annoying in many Disney films. This film still blows away most recent animated films, and I cannot recommend it highly enough. The plot is simple yet captivating and the film shows a flair which is sadly missing from most modern mass-market, homogenized animation.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0314", "text": "First of all, Riget is wonderful. Good comedy and mystery thriller at the same time. Nice combination of strange 'dogma' style of telling the story together with good music and great actors. But unfortunately there's no 'the end'. As for me it's unacceptable. I was thinking... how it will be possible to continue the story without Helmer and Drusse? ...and I have some idea. I think Lars should make RIGET III a little bit different. I'm sure that 3rd part without Helmer wouldn't be the same. So here's my suggestion. Mayble little bit stupid, maybe not. I know that Lars likes to experiment. So why not to make small experiment with Riget3? I think the only solution here is to create puppet-driven animation (like for example \"team America\" by Trey Parker) or even computer 3d animation. I know it's not the same as real actors, but in principle I believe it could work... only this way it's possible to make actors alive again. For Riget fans this shouldn't be so big difference - if the animation will be done in good way average 'watcher' will consider it normal just after first few shots of the movie. The most important thing now is the story. It's completely understandable that it's not possible to create Riget 3 with the actors nowadays. So why not to play with animation? And... look for the possibilities that it gives to you! Even marketing one! Great director finishes his trilogy after 10 years using puppet animation. Just dreams? I hope to see Riget 3 someday... or even to see just the script. I'm curious how the story ends... and as I expect- everybody here do. greets, slaj ps: I'm not talking about the \"kingdom hospital\" by Stephen King ;-)", "label": 1, "domain": "movie_review", "token_count": 380, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0315", "text": "Plague replaces femme fatale in this highly suspenseful noir shot in New Orleans by director Elia Kazan. Kazan as always gets fine performances from his actors but also shows a visual flair for claustrophobic suspense with a combination of tight compositions and stunning single shot chase scenes. A man entering the country illegally is killed after a card game. It turns out he has a form of bubonic plague so it remains crucial not only to arrest the killers but to find an inoculate all those who have had contact. City and health officials implement a plan of secrecy rather than alert the community for fear the culprits will flee the city and spread the disease. A detective and an epidemiologist up against the clock form an uneasy alliance as they comb the waterfront employing their contrasting investigatory styles. Streets raises a huge ethical question about the publics right to know as the medical officer argues for a media blackout thus possibly creating a greater risk to the community. Regardless of outcome, you still may find yourself second guessing the actions of the the film's protagonist. Richard Widmark as Dr.Clint Reed and Paul Douglas as Detective Warren display short tempers and grudging respect for each other in their search for the killers. Barbera Bel Geddis as Reed's wife has some good moments with Widmark in some domestic scenes that bring the right touch of (restful more than comic) relief from the tensions of the desperate search amid the grim environs of the New Orleans waterfront impressively lensed by cinematographer Joe McDonald. Zero Mostel as a small time criminal is slimy and reprehensible but at times sympathetic. Walter Jack Palance as the skeletal Blackie (Black Death?) is simply outstanding. With riveting intensity Palance dominates every scene he is in not only with ample threat but disturbing charm as well. In addition he displays a formidable athleticism that allows for a more suspenseful continuity, especially in the film's powerful final allegorical moments. Panic in the Streets is probably Kazan's best non-Brando film. It's tension filled, suspensefully well paced and edited. It's ambient on locale setting lends a sense of heightened reality that allows Kazan the flexibility to display his visual style beyond the movie stage and with Panic he succeeds with aplomb.", "label": 1, "domain": "movie_review", "token_count": 457, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0316", "text": "Scott Henderson (Alan Curtis) is unjustly accused of killing his unfaithful wife. The night she was murdered he was out with a mystery woman who refused to give him her name. After accused of the murder, the police visit all the places he had been with her, but people only remember him being alone. He's sentenced to die and his secretary (Ella Raines) sets out to find the murderer herself because she loves him. This was made as a B film from Universal (look at the cast--all character actors and one star--Franchot Tone--on the decline). The budget was small and the cast mostly unknown but what came out is one of the best film noirs of the 1940s. It's beautifully directed by Curt Siodmak and has a fantastic script that came from an excellent book by William Irish (a pen name for Cornell Woolrich). It moves quickly and just looks fantastic. And there's the infamous jam session with Raines and Elisha Cook Jr. which just comes off the screen with incredible sexual energy (I'm surprised the censors didn't cut it). There are only a few flaws that prevent this from being perfect. Tone gives a dreadful performance. He looks ghastly and he's just horrible. Also Curtis is stiff and bland as Henderson. You really wonder why Raines loves him--he's so unemotional. But Raines is pretty good in the lead role. She's pretty and full of life. Also the last scene when the murderer is after her never rings true. He's hardly a threat physically and her reactions just seem overstated. Still I'm giving this a 9. A really great film--flaws aside.", "label": 1, "domain": "movie_review", "token_count": 348, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0317", "text": "Whenever I hear a movie being touted because it has no sex, violence, bad language, special effects, and so on, my b.s. detector goes off. Usually, a movie like that is sentimental hogwash which panders to people who don't want anything to surprise them, but to affirm how superior they are to us craven folk. So when David Lynch's THE STRAIGHT STORY began getting those kinds of reviews, I was apprehensive, especially since I was not a fan of his other \"uplifting\" story, THE ELEPHANT MAN. For all the stunning images and the good acting in that film, it seemed more interested in preaching to us than inspiring us. I needn't have worried. THE STRAIGHT STORY is an honest movie rather than a saccharine one. Most of that is due to the fact that Lynch and writers John Roach and Mary Sweeney tell it straight and simple for the most part. There are a couple of homilies by Straight I could have done without, and the shots of grain being harvested are repeated a little too much, but those are only quibbles. There's no heavy-handed message, no sentimental strings to jerk our emotions, and no condescension towards us and its characters. Instead, they depend on the story to build its own power, and it does, so by the final scene, we are genuinely moved. Of course, casting Richard Farnsworth adds realism to the part. He really is someone who looks like he's lived through a lot but still perseveres, and except for those homilies, the desire he has to get back together with his brother doesn't seem overly sentimental, because you can sense here is someone who's lived too long and seen too much to be driven by anger for long. And he knows his time is running out, so he wants to make some peace, not only with his brother, but with his life. Sissy Spacek also does fine, unmannered work as Straight's daughter. And although I am a city and suburban boy, the Iowa and Wisconsin landscape are beautifully shot, making me want at least to visit some day.", "label": 1, "domain": "movie_review", "token_count": 438, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0318", "text": "Two years ago I watched \"The Matador\" in cinema and I loved everything about this movie. Obviously, I was totally under impression of Pierce Brosan's magnificent role. Yesterday, I caught this movie again on TV so I looked at it a bit deeper. Now, I can say with certain that this movie isn't that special but you just gotta' love it because of one man. Brosnan lifts its grade up in my opinion with amazing performance of Julian Noble, tired hit-man who has no friends. Soon Julian meets Danny Wright (Greg Kinnear) in Mexico City, man who's got bad luck: his son died in accident, his job isn't going that well and he's not sure that he can keep his wife Bean (Hope Davis). I always liked movies like this; crime movie with big touch of humor. Mostly that humor comes from Brosnan as he tells jokes about dwarfs with big d.... or one of my favorite lines in this movie: \"I look like a Bangkok hooker on a Sunday morning, after the navy's left town.\" Brosnan says it with his charm while he's drinking his margarita as usually. I also like Greg 'typical American face' Kinnear in the role of loser that is very lively made because there are plenty of people like Danny Wright. So I recommend you to watch quite possibly the best role of Brosnan ever. He'll make you smile and admire him at the same time. Great Brosnan in not equally great movie.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0319", "text": "I love occult Horror, and the great British Hammer Studios, who delivered one of their greatest films with \"The Devil Rides Out\" (1968), have proved to be more than capable in this field of Horror. This occult tenth episode of Hammer's short running TV-series \"Hammer House of Horror\" (1980), \"Guardian of the Abyss\", is indeed a creepy entry to the series. Director Don Sharp, who had previously enriched the Hammer oeuvre with \"The Kiss of the Vampire\" (1963) and \"Rasputin: The Mad Monk\" (1966) and furthermore directed two \"Fu Machu\" movies starring Christopher Lee, is doubtlessly one of the better-known names among the HHH directors, and he also delivers here. Antiques dealer Michael (Ray Lonnen) stumbles over a mysterious old scrying glass. The scrying glass happens to be the object of desire of a devil-worshiping cult, who want to use it for their satanic rites. When he shelters a beautiful young girl named Allison (Rosalyn Landor), who is to be sacrificed by the cult, Michael gets into deeper trouble with the cult and their sinister leader (John Carson)... While this is not one of my absolute favorite episodes of \"Hammer House of Horror\" (the best one clearly is the brilliant seventh episode, \"The Silent Scream\"), it is a very creepy and atmospheric one. The plot has several interesting twists, and stays suspenseful and uncanny throughout the film. Ray Lonnen makes a good lead, young Rosalyin Landor is convincing as the innocent beauty, and John Carson is truly creepy as the leader of the Satanists. Overall, \"Guardian of the Abyss\" is another interesting and creepy HHH tale, and my fellow Hammer fans should not miss it.", "label": 1, "domain": "movie_review", "token_count": 372, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0320", "text": "Why can't more directors these days create horror movies like \"The Shining\"? There's an easy answer to that: modern day directors are not Stanley Kubrick. Kubrick proved once-and-for-all with this movie that he is truly one of the greatest directors and auteurs of all time. So, the plot is fairly simple. A man named Jack Torrance (played brilliantly by Jack Nicholson)and his family move into a large, secluded hotel to watch over it for the off-season. The kicker is that the previous caretaker of the hotel savagely murdered his wife and two girls. What follows can most readily be summed by the title of the movie, but you have to watch it to see what I mean. This is the first movie in a very long time to strike me as \"scary\". It's some seriously messed up stuff, but in a good way. One of the things that adds to the scare factor is the amazing music. Music has been a major part of Kubrick's movies (2001: A Space Oddysey and A Clockwork Orange, just to name a couple) and he definitely doesn't disappoint with this one. The score completely sets the tone and this film would not be the same without it. Finally, I must comment on Nicholson's legendary performance. Jack is terrifyingly convincing as a crazy killer. In fact, just his stare steals a few scenes of this movie. This is top-notch acting that must be seen to believe. There will never be a horror movie that quite matches this one. R.I.P. Stanley.", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0321", "text": "I'm still new to the Krimi genre and the only one I've seen prior to seeing this one was the earlier and somewhat disappointing 'The Dead Eyes of London', which didn't exactly inspire a great hope for the rest of the genre in me. If I'd seen this one first, however, the feeling would have been different as while The College Girl Murders is a bizarre and rather wacky attempt at a crime flick; it's great fun to watch and it's really hard to hate a film that throws so many weird and wonderful ideas into the script and manages to pull it off with style. The film begins in a lab where a crazy scientist has invented a new and highly toxic poison that kills its victim and makes it look like they died from a heart attack. This poison is used by a mysterious criminal mastermind who breaks common criminals out of jail to carry out his murders using this poison (and then has them put back in jail). As the title suggests, it's a nearby college full of girls that provides most of the victims. There's also a mysterious monk dressed in a red robe who marauds around breaking necks with a bullwhip. Of course, with a plot like that; this is not exactly a serious affair and the director clearly knows that as there is a very tongue-in-cheek vibe to the film, which does bode well with the plot. The fact that there are so many different sides to the plot does unfortunately mean that everything does not run smoothly; although this isn't a big problem as things are kept ticking over nicely throughout the film and there's always enough going on to keep the audience interested. The atmosphere is superb and the colour scheme on display is great too look at. Of course, the film is based on an Edgar Wallace novel and clearly the man has a great imagination; the locations used are also superb and while a killer's lair decked out with a host of wild and exotic animals might not serve any relevance to the plot, it does help to give the film that extra 'something'. You cant expect a conclusion that fully makes sense after all the stuff that goes on in this film; but the reason for the murders sort of makes sense and is a satisfying way for the film to climax. Overall, College Girl Murders is an excellent little mystery flick and one that comes highly recommended!", "label": 1, "domain": "movie_review", "token_count": 476, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0322", "text": "One of the ten best comedies ever This seems a comedy so joyous and light that sings. Keaton's comedies are _innerly, harmoniously, intelligently ordered, thought. Wonderfully amusing, deliberately delightful and inventive, THREE AGES should belong to a draft of a comedies top ten if I were to sketch one. A threefold love story will enchant the viewers; I want to bring here this approach—Keaton's comedy is like Lang's DESTINY upside—down—or À REBOURS. Again a couple traverses the waters of time—and of epochs—in the Stone Age, in Rome and in Keaton's times—in a Mohammedan country, in Renaissance Italy and in China. The same device works in the both movies—one, a grim, eerie melodrama; --the other, a light, virtuously—paced comedy. At Keaton it's essentially the same couple; and maybe the same is with Lang. The babe desired by both Buster and Beery is nice. I have found THREE AGES well written and smart, without being ostentatiously sophisticated; the plot is basically very POPEYE—like—the babe is a piece of furniture, the only protagonists are the two male rivals—Keaton and Beery. Keaton's movie is simply enormously likable, and perhaps one would be tempted to assert this looks like ambitious fun—yet it's not, but it is grand fun, large fun, ample fun. And Wallace Beery makes a fine nemesis.", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0323", "text": "I noticed that A NEW HOPE and THE EMPIRE STRIKES BACK are in the TOP 10, but that this one isn't even in the TOP 100. This movie has a bad reputation because of Ewoks, but there are so many reasons to love this movie: -The Rescue of Han Solo from Jabba: This official wraps up the Han Solo in debt sub-plot that was established when we first met the character in A NEW HOPE. -The Emperor was Finally Revealled: Well alright this might not work as well now that the prequels are out but this was the first time we saw The Emperor as kids. -The Speeder Bike Chase: Alright, so this was a special effects moment. But it was definitely one of the most memorable and exciting moments in all the films! -The 3 Part Climax: 1) The Battle of Endor (Led by Han and Leia) 2) Luke Confronts his Father & The Fall of the Emperor 3) The Destruction of the Second Death Star (Lando's Moment) -The Final Celebration with Our Heroes: Like I said, this movie gets a lot of crap because of the Ewoks but I think it's kind of cool that while the entire galaxy celebrates the FALL OF THE EMPIRE, our heroes are having their own private party in the woods with each other. All in all this was a great final chapter for our heroes and a fitting end to the STAR WARS story.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0324", "text": "Nathan Detroit (Frank Sinatra) is the manager of the New York's longest- established floating craps game, and he needs $1000 to secure a new location. Confident of his odds, he bets the city's highest-roller, Sky Masterson (Marlon Brando), that he can't woo uptight missionary Sarah Brown (Jean Simmons). 'Guys and Dolls (1955)' is such a great musical because it deftly blends the contrasting styles of film and stage. During a dazzling opening sequence, crowds of pedestrians move in rhythm, stopping and starting as though responding to backstage cues. Even the walking movements themselves are stylised and angular, halfway between a walk and a dance. Mankiewicz's New York City is a glittering flurry of art deco colour and movement, a fantasy world so completely removed from reality that even the business of underground gambling and criminal thuggery seems perfectly genial. As I write this review, I've just received word that Jean Simmons has passed away, age 80. This, unbelievably, was the first time I'd seen her in a film, yet she dazzled me from the beginning. Her idealistic and sexually-repressed Sarah comes out of her shell following an alcohol binge in Havana, letting loose with an adorably playful rendition of \"If I Were A Bell.\" Even though both Simmons and Brando were non-singers, producer Sam Goldwyn decided not to dub their vocals, contending that \"maybe you don't sound so good, but at least it's you.\" Despite Goldwyn's backhanded confidence, the pair both do well to carry entire musical numbers themselves. Simmons suggests the same child-like liveliness that Audrey Hepburn might have brought to the role, and Brando exudes such self-assurance and charisma that it doesn't matter that his singing voice isn't quite there.", "label": 1, "domain": "movie_review", "token_count": 381, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0325", "text": "Arthur is middle aged rich 'kid' who drinks like a fish. Arthur does what he feels like and says whatever comes into his mind. He likes to boast about his riches and knows that he is a spoiled brat. He spends money on people he don't know and finds everything funny. Arthur must marry a high class girl to inherit a big fortune but he falls in love with a poor waitress Liza Minnelli (she looks really weird). This is a damn funny film. I watched this film because a very famous Indian film 'Sharabee' is based on the character of Arthur. Although 'Sharabee' is definitely inspired by 'Arthur' I think they are two different films. 'Arthur' is just fun. Its very corny at times. There are so many fantastic one liners in the film. Its not a laugh riot but it has some fantastic moments. My favorite scene is when Arthur meets his fiancé's father and he keeps talking about the 'moose'. Duddley Moore sure has some comic timing. He is very good with words and body language. I loved the scene where he talks standing to a seated couple in the hotel about a 'small' country and he keeps talking to husband and wife in two different directions. John Gielgud got an Oscar for this film. I don't know that actor. I don't think he did a great job but may be if I watched more of his work I may agree in future. Movie has some flat patches but not very long ones. looking forward to watch the sequel.", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0326", "text": "I guess this is meant to be a sort of reworking or updating of \"Beauty and the Beast\", but I can't say I've ever watched a movie that began with several minutes of graphic horse sex. Wow. Anyway it seems that a young woman and her..aunt? Have traveled to this castle in France where the woman is to be married to the son of the castle owner, who is the man who takes care of making sure the horses get their rocks off. It seems that there are legends in that area of a beast that was rather, uh, frisky, I guess you could say, with the ladies, or at least, one in particular. There are all kinds of references tucked away in that regard but every time the soon-to-be-blushing young bride gets her curious little hands on one the groom's father removes it from her sight. Anyway, the young bride-to-be goes upstairs to sleep while the family is waiting for a Cardinal to show up to the wedding (a family member, I guess) and as she dreams she dreams of a beast in the woods that has its way with her. The effects in this leave a little to be desired, and any attempt at eroticism (not that I know much about that) is kind of rendered laughable, especially when certain featured appendages appear about as realistic as a bed post or a baseball bat. This has a rather strange and abrupt, yet twist ending, with not really any clues or much build up to it, but it was kind of fitting and definitely not what I expected. I don't know, this is kind of a tough one to get through but it has its moments and is definitely weird. 7 out of 10.", "label": 1, "domain": "movie_review", "token_count": 347, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0327", "text": "This movie can be interpreted on many different levels. Don't listen to the other comments bashing the movie and saying that it is a played again story or w/e and that it is just about drugs. It has very overt superficial metaphors about drugs; however, the rest of the movie (and why I think it was personally made) is really not about that at all. It is really mocking psychology and the conditioning of society. It shows, for a split second, that the main character's brother is watching those sick videos online. Why? My interpretation is that it is to demonstrate that all of this gruesomeness that we are exposed to makes it easier for us to be mechanical in our professions instead of seeing people as people. As far as the scene about logic, it is also reaching out to the people who were in the federally mandated 1% smart classes who are confused and frustrated because life isn't as predictable and mathematical and logical as it seems on a macroscopic level. You have to apply Heisenberg's uncertainty principle (along with all the other laws and principles of uncertainty) not just to physics but to life and leave room to change your plans and adjust along the way. One of the best movies I have ever seen. It just might go way above your head; it isn't for you it is for those people who are are having trouble coping with life not working out like a math problem. When you are critically analyzing a movie or writing your critical review's try not reading the back cover first (written by marketers and parapsychologists)", "label": 1, "domain": "movie_review", "token_count": 316, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0328", "text": "LES CONVOYEURS ATTENDENT was the first film I saw in 2000 and I doubt I'll see a better one this year. This beautiful tragicomedy by Belgian filmmaker Benoît Mariage is set in the industrial wastelands of Wallonia. Benoît Poelvoorde plays a father who desperately wants his son to win a car (a Lada!) for him. To do this the son has to break the record opening doors. What the father actually wants his for his son to be someone, because he himself has never made it further as the reporter of local news for a newspaper ironically called L'Espoir (Hope). Of course nothing works out as planned. This film can best be compared to Aki Kaurismäki's DRIFTING CLOUDS, although it is more dramatic and the humour is darker. Just like in that film however the tone is more melancholic than depressing and the ending upbeat, without being unrealistically happy. The humour is absurd, without making the plot unbelievable, and Mariage finds stunning images in the bleak settings that never seem artificial. The best thing about LES CONVOYEURS ATTENDENT is the acting by Poelvoorde. This actor shot to fame with the also brilliant cult-classic C'EST ARRIVÉ PRÈS DE CHEZ VOUS in which he played the charismatic hitman Ben. Since then he only played two small roles in films that were not released in the Netherlands, because, as he said in an interview, he was not convinced of his own acting capabilities and all the roles he was offered were reprises of the Ben character. With his return to a leading role in LCA there should be no doubt anymore about his acting. He's simply brilliant as a man stupid and evil enough to put his family in misery, but smart enough to realize what he's done and be torn by remorse about it. A must see.", "label": 1, "domain": "movie_review", "token_count": 395, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0329", "text": "He glorified himself as a great supporting actor in `Glory', he proved he was no `Malcolm in the Middle' mediocre actor in `Malcolm X', he showed his brotherly love for acting in `Philadelphia', he pulled a slam dunk in `He Got Game', he pulled no punches and rocked us like a hurricane in `The Hurricane', he provided us effective thespian education in `Training Day', and now he has demonstrated that he could also direct! Denzel Washington's directorial debut `Antwone Fisher' is the most moving film of the year. This tearjerker `fish'er story is in no relation to the debacle that happened to the Miami Dolphins in the 4th quarter against the New England Patriots in the last game of the 2002 season. Unlike that Dolphin tragedy, `Antwone Fisher' possesses an emotional joyous conclusion. The movie is based on a true story about a young naval officer who has an anger management problem due to the abhorrent he suffered as a foster child. Denzel plays the naval psychologist who helps Antwone overcome his rage and convinces him to find his natural mother. Derek Luke's debut performance as Antwone is the best admirable acting I have seen by a novice actor in some time now. I actually saw some of the detailed eccentricities in Luke's acting as I have seen in Washington's past performances. It was like if Washington was telling Luke- ` la la la Luke I am your acting father'. Ok! I will lay off the Star Wars jokes before my readers send me to a galaxy far far away. Speaking of the great Denzel, his work as the psychologist was masterful. But what can you expect from the acting `Master D' himself. `Antwone Fisher' was written by no other than Antwone Fisher himself. The emotional pathos he inserted in his storylife's screenplay was of `fisher king' material. I hail to the chief `Mr. Washington' in catching the right bait in `Antwone Fisher'. ***** Excellent", "label": 1, "domain": "movie_review", "token_count": 419, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0330", "text": "** possible spoilers ** I like this film and have no problem staying awake for it. It reminds me of me at 20, except this is even better. Like Veronica says, two chicks at one time. It brings out the horniness in me, the casual conversation, these two real life chicks, rather than hookers, teasing us every step of the way. I get into the conversations too. Even if they are utterly b.s. at times, so what? Every chick, just about, that I've ever talked to and is high on herself is usually full of the same unreasoned rambling gratuitous self-centered b.s. philosophy. It's just a bunch of nonsense, and about as sensible as that other b.s. philosophy chicks are often into: astrological charts. The only deal with this movie is the guy is almost as feminine as the women, he's into the same b.s. and moodiness. The brunette chick is actually the most masculine person there. I think it's kind of funny that the brunette chick gets so obviously turned on by Veronica. She'd love to pull the little blonde away from Alexander, but Veronica plays her all the way. She's brilliant. She gets the brunette thinking there's something up between them, and then she steals the boy-child/man, which is only appropriate since they appear to be from the same age group. The brunette knows she's been had by the end, when she's dropping her face into the palms of her hands while Marlene Deitrich sings in the background that, paraphrasing, there are a million couples in Paris tonight, but I only have this refrain. But do they get married in the end, Alex and Veronica? Mmmm? I can only imagine a super-tumultuous relationship ending in a pre-marriage breakup. They are too selfish to be anything to each other than stepping stones. I like the film though. It kept me entertained, it's got a nice look, and it's sexy.", "label": 1, "domain": "movie_review", "token_count": 404, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0331", "text": "Probably the best film of the year for me. This small French film centers on put upon office secretary Carla (Emmanuelle Devos) who spends her days doing other men's jobs, uncredited, and being the source of their scorn and lunchtime conversation which is all too clear to her as, being partially deaf, she reads lips. A change is set in motion when she hires newly paroled con Paul (Vincent Cassel) as her assistant. The relationship which develops between them is the centre of the film. Mutual dependency, for vastly different reasons, bonds them. Carla becomes attracted to Paul and to the fact that he makes her feel attractive for,what seems like,the first time. Paul does nothing to dispel her feelings because he needs her help. He owes money to a local gangster and forms a plan to steal from him which will involve Carlas' skill of reading lips. I think the main thing that pushes the film way above an average suspense/drama is the amazing chemistry between the two stars. Throughout the whole film, no matter what other characters are on screen, you can feel this amazing bond between Carla and Paul. I cannot remember when I have witnessed such sexual chemistry between two actors. Emmanuell Devos gives a brilliant performance (she won the French Cesar for best actress). You never feel like you are watching a piece of acting, this really is Carla. The chameleon like Vincent Cassel is also wonderful. He makes a somewhat unappealing character both appealing and attractive. I loved this film because of these two people, and both times when I had finished watching it I wanted to go back into the cinema and become involved with them all over again.", "label": 1, "domain": "movie_review", "token_count": 343, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0332", "text": "Outside the household is a different world and the family struggle to tread the line between Dads authority and their hopes and dreams. The period is captured; The bakelite light swithes, the Georgian floorpan, the picture rails, the wall paper, the short skirts, the cheeky lads, the Mini van, shiny modern mangles.... The location is captured; A wind lashed glacier hewn rocky landscape, walls of local stone, community, freedom. But there is much much more; Childhood, happiness, sensuality, pride, values, freedom, authority, rebellion, violence (in the deepest sense), love, struggle, puberty, naivety, morality, trust, faith, deceit, machismo, manners, maturity, loss, poverty, sacrifice, horror, acceptence, revelation, comedy and parenthood are all there. (And in no particular order!). This film is a richly woven expression of family tensions that are as relevent today as ever. The fact that some of these aren't tackled directly is testament in itself to the attitudes of the day but the fact that they are all here is a testament to the acting skill, the story and the direction. If there's anything bad about this film, it's that all this deeply entrenched and wonderfully enacted tension is swept away a little too lightly towards the end. Maybe I missunderstand - the doom and gloom felt by many teenagers really does disappear if they deal with it (**) - maybe the film is trying to send even that message too - well worth doing. What is the film trying to say? Kids: Parents were young too, parents struggle too, everyone makes mistakes, everyone learns, things change, struggle can end happily. Parents: Don't try too hard! Try to remember that your support is the key to their well being. It sounds simplistic doesn't it? Sometimes the film feels like that too but it's then that you notice how much is being being challenged and uncovered. The film is a classic. (**) - Not the problems themsleves.", "label": 1, "domain": "movie_review", "token_count": 415, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0333", "text": "I am surprised at IMDb's low rating of this movie. With all due respect, its low rating is representative of the IQ level of those who rated it so poor. They would rather see a movie with cheap thrills, a bigger budget, and more gore. The first misconception by people is that this is a horror film. It is not, nor does the film mislead you into believing it is one. It is a psychological thriller. It is for people who actually want an intellectual experience when watching a movie. Reel.com's review is the perfect example of how I feel about this movie. All the other negative reviews doesn't make much sense. It's almost as if trying to make an original movie for a change- very rare these days- is something bad and not worth it. I will reveal some spoilers for the morons who said it was boring and didn't make sense. Martha was brainwashing herself and performing experiments on herself to be a caring mother while she really was an evil Nazi who would kill without warning. The evidence is all in the pudding and the fact that at first viewing, we sympathize with this cold-blooded monster for the duration of the movie is a testament to the film's direction and writing. I definitely feel that this movie should at least be rated in the 6's range on originality alone. I recommend this movie for the people on the other end of the IQ scale- aka smart people- since this movie is obviously being butchered by those who would rather watch Scream or Freddy's Nightmare. Kudos to the acting as well. For such a low budget film, you are amazed that this movie didn't hit your local cinema with the great direction, writing, and acting. Please don't be fooled by the rating by IMDb. This movie is worth it. I actually recommend buying the film since a first viewing on a rent will not do this justice.", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0334", "text": "I think this movie is a very funny film and one of the best 'National Lampoon's' films, it also has a very catchy spoof title, which basically sums up what the whole movie is about.... Men In White!!!! The story is a spoof of many films including a Will Smith film, as you might have guessed, 'Men In Black'. I will not give the ending away but it has a very good ending in is very funny (Leslie Nielsen style humour) from start to finish, especially the bit near the beginning when thy are in the street collecting the dustbins (Garbage Cans). Also, they have a pretty cool dustbin lorry (Garbage Collecting Truck) in that scene too. The acting is not superb, actually, it is not very good, but that is what makes the film funny, it is a comedy, loosen up!! I love the story line, partly because it is so far fetched and partly because it is interesting to see how subtle (Or should it be Un-subtle) they rip off all the other films. I am great fan of un-serious spoof films, but i am also a fan of the real thing, and with this films, it is hard to decide which is better, the film it mainly rips off (mentioned earlier i this review) or the actual film it is, but also when you are actually making a spoof of comedy films, it actually makes it even harder, but this film carries it off successfully. The two garbage men are so funny, it reminds me of a TV sketch show in the UK called 'Little Britain'. This film is a must for your collection and is one of the best, most entertaining, funniest, best storyline, National Lampoon's film to date!!", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0335", "text": "This was a very daring film for it's day. It could even be described as soft-core porn for the silent era. It was a talkie, but dialog was extremely limited, and in German. One did not need it anyway. The young (19) Hedy Lamarr gets trapped in a loveless marriage to an obsessive (stereotype?) German and after a short time in a marriage that was apparently never consummated, returns home to her father. In a famous and funny scene, she decides to go skinny dipping one morning when her horse is distracted by another. She is then forced to run across a field chasing after it, as she left her clothing on the horse. An engineer retrieves her horse and returns her clothing - after getting an eyeful. They sit for a while and, in a zen moment, he presents her with a flower with a bee sitting on top. This is where she thinks back to her honeymoon and the actions of her husband and an insect. She knows this man is different. She returns home and eventually seeks out our young fellow, and finds the ecstasy she was denied. You can use your imagine here, but his head disappears from view and we see her writhing with pleasure. Since he never got undressed, you can imagine... Certainly, an homage to women by the director Gustav Machatý, and a shock to 1933 audiences. The only thing that mars this beautifully filmed movie is the excessive guilt, and a strange ending.", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0336", "text": "I'm one of those people who usually watch programs and keep my feelings about a show private. However, Pushing Daisies is my exception. I became curious about the program from the commercials that aired which gave glimpses of the premise of the show. I was skeptical about it at first, especially after the finale of Six Feet Under was still in my head. Here we go again, I thought. I watched the first, second, third and all the other episodes. Wow! First of all, I thought it took the subject of death and presented in a way that was palatable without being morbid. The characters were engaging and I like the thought of Ned the main character not being able to literally touch the love of his life, Chuck without the consequences of her dying. Most of the characters have a longing for things they can't have. Besides Ned and Chuck, Olive longs for Ned. Lily and Vivian longs for their niece Chuck and Emerson is always longing for the monetary rewards from the mysterious deaths they solve. I think the characters are picture perfect and believable. I like how Emerson who is black plays off of the rest of the characters since as an African American; I like the subtle cultural humor that sometimes comes from him. All in all, this visual fairytale is one of the most valuable pieces of entertainment that I've seen out of the 2007 season. I think the show has enough romance for the romantics and enough who-done-it for the mystery buffs. I just wish the writers would get back to work, so that the show can continue to evolve.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0337", "text": "Marlene Dietrich and Charles Boyer give solid performances in this beautiful but empty film. The irony is that Dietrich plays a woman with a beautiful but empty life. Truly gorgeous cinematography and sets, and yes Dietrich's bottomless trunk of clothes are also fabulous. She look great; Boyer looks young and trim. Story of a woman seeking meaning and an ex-priest seeking life seems pretty stale, but set against such unreal sets and skies it somehow works, given the two stars, the terrific score by Max Steiner, and a good supporting cast. The film runs like 76 minutes and seems badly edited, plus certain characters just appear or disappear. Joseph Schildkraut is funny as the Arab guide, C. Aubrey Smith is the old priest, Lucile Watson the mother superior, Tilly Losch the dancer, John Carradine the diviner, and Basil Rathbone plays.... well I'm not sure. He just rides in from the desert and spoils everything! As others have noted, John Gilbert was slated to star with Dietrich. I can't help but think he would have been wonderful. The role of world-weary Boris would have suited the great Gilbert quite well. And after the success of Queen Christina (with Garbo), his career might have gotten back on track. I can't think of any other 30s film Dietrich did in color. She looks great and wears some terrific clothes. My favorite is the Valentino as The Shiek-like outfit she wears by the pool. Certainly worth a look for the lush sets and color and the two great stars.", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0338", "text": "Everyone has a first love, and though it is hard to define that feeling when you're younger, it is there, aching inside you. That is what Malaysian filmmaker Yasmin Ahmad aims to prove in her fourth feature, a movie where that most complex of emotions is recounted in a deceptively simple, straightforward fashion. Such an approach is especially convenient in this case, as the love story at the film's core involves two twelve-year olds, and would therefore make any attempts at \"deeper\" analysis seem contrived and pretentious. That they don't is also testament to the astounding performances given by the leading non-actors, Sharifah Aryana and Mohd Syafie Naswip. The former plays Orked (already seen as an adult character in Ahmad's previous picture, Gubra), a lively, almost rebellious girl who, perhaps influenced by her \"British\" upbringing (her mother studied in England), despises playing with dolls, preferring to play violent sports with the boys. Then one day she meets Mukhsin (Naswip), who has come to spend the holidays at his aunt's house, and all of a sudden she changes her habits: goodbye fistfights, hello bike-riding and tree-climbing. But what does this mean? Are they just friends, or is something more implied, something neither of them is yet ready to understand, let alone accept? Given the young age of the protagonists, answering those questions borders on impossible, and so, like in several \"smaller\" films (Lost in Translation comes to mind), there is no real closure, a choice that leaves a bittersweet, but ultimately satisfying aftertaste: the naturalistic, unfiltered acting (especially Aryana's) gets to the heart almost immediately, and a strong supporting cast (Orked's family most of all) helps keeping the minimalistic narrative fun and seducing. The down-to-earth approach isn't always that effective (the hilarious subplot regarding an adulterous neighbor is dropped way too early), and it is hard to justify the bizarre Pulp Fiction reference at the start of the feature, but the emotional strength of the teenage romance is enough to make this an interesting piece of independent Asian cinema.", "label": 1, "domain": "movie_review", "token_count": 454, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0339", "text": "I have not read the book that this was based upon/inspired by. This being some of(the others are film roles) the last work of John Ritter(RIP), one hopes that it is hilarious. And it is. Almost every time he's present in this, as a matter of fact. Most of the cast, supporting as well as regular, play off each other well, and the material tends to be great. He plays Paul Hennessy, the father of three teenagers: Rory, the typical guy of that age, Kerry, the depressive middle-child who fights for causes and awareness, and Bridget, the fashion-loving, popular ditz. Sagal makes a return to being the female lead in a sit-com, and her character is far removed from Peggy Bundy. The show changed somewhat after Mr. Three's Company passed on, and for a while, they couldn't seem to make up their minds if they wanted to go for getting laughs, or being poignant and making sure to be respectful. One can wonder how or why it lasted for so long after that: It could still be quite good, some of the additions were fortunate(if you like David Spade, most of his part consists of him doing his schtick) and had stuff to say. My personal favorite episode is in the last season. The humor is a nice mix of \"dumb person\" jokes(mainly related to the high-schoolers), silliness, dark comedy and crude material. This dealt with sex and other adult topics, but never in a graphic manner. The language is mild, and, on occasion, moderately strong. I recommend this to any fan of those who made it. 8/10", "label": 1, "domain": "movie_review", "token_count": 343, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0340", "text": "Once in the Life means that once a hoodlum, always a hoodlum, and nobody gets in or out of `The Life' for free. Neighborhood hoodlums in New York sell drugs and run scams because they can't make it in the legitimate world, maybe because they have a criminal record, or a drug habit, or because they're just lazy. This simple story with a couple of twists about mostly despicable characters manages to draw compassion out of the audience for its main players because of their loyalty and compassion for each other. The film is written, produced, and directed by Laurence Fishburne, who also stars as 20/20 Mike (all hoodlums have nicknames), and is based on his play, `Riff Raff.' It feels like a play from beginning to end, especially during the longest scene where the three main players square off to decide who can be trusted. Often times the dialog comes very fast, much faster than it would on stage, and I think it's the film's biggest flaw. Mixed in as flashbacks throughout the film are poems from the street, a sort of iambic pentameter rap, that is violent and evocative of the world this movie discloses. The poetry makes it difficult to dismiss these men, these hoodlums who murder, cheat, and betray each other, as unworthy of our attention or below our contempt. The disturbing thing about this film is that its realism shows us not only how these people live, but how they suffer for the same reasons as us all. One is too stupid, another a junkie, and the last suffers from conscience while the audience wonders, or even laughs, at the irony of executioners demanding from him hanging in the gallows to tell jokes in the midst of his demise.", "label": 1, "domain": "movie_review", "token_count": 366, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0341", "text": "\"Yokai Daisenso\" is a children's film by Takashi Miike, but as you might expect, it's probably a bit too dark & scary for younger ones. However, older children may well eat this up, that is, if you play it dubbed in English. The story is that of a young boy, who has moved with his mother to the country, to live with his grandfather, after a divorce. During a village festival the boy is chosen as a \"Kirin rider\", a great honor, but with that honor comes much danger and adventure, of course. Meanwhile, evil doings are at hand as a woman in a white mini skirt, go-go boots & a beehive hair-do, teams up with an evil Yokai to turn people's resentments and discarded items against them. And this evil has manifested itself as a flying city in the form of a monster that heads for the City of Rage itself, Tokyo. One quite funny scene has two derelicts watching the monster fly over the city...says one, \"Oh, it's only Gamera\". The young boy has befriended Yokai, which are monsters of a kind, mostly benign, that have isolated themselves away from humans, and all the Yokai in Japan band together to fight the evil. In many ways Miike & crew have taken the late 60's/early 70's Yokai films and turned them into a modern action adventure film for (older) kids that also combines some strange mechanical monsters that made me think of \"Transformers\". The look and feel of the film is great, the effects are entertaining, and some of the humor will just sail right over kid's heads, but still, older ones might enjoy it. As for adults, there's not much here not to like, if you're a fan of Japanese monster movies you'll enjoy the heck out of this. Cool & fun stuff, kind of dark at times but perhaps that's just Miike..and what a wild ride. 8 out of 10.", "label": 1, "domain": "movie_review", "token_count": 417, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0342", "text": "This movie is an exact copy of a TV series on Indian television channel doordarshan Which was aired at least 15 years ago. The series was known as \"gubbarre\" meaning balloons. Each episode was a new short story. The story is excellent and the original is much sweeter and \"convincing\" Abhay Doel does a good job but he doesn't fit the role of a \"normal\" and \"third class\" guys(as he calls himself in the movie). In fact Shayan Munshi with his hair cut short and without the designer clothes would have fitted the Abhays role but Shayan just doesn't have the talent to pull it off. I would suggest watching the series if it is available. It is the same story except for the running around with the friends mother and the initial introduction. The acting of the TV actors was much better than these \"stars\". The only reason this movies is a flop is because the director tried to stretch half an hour(or 45 minutes) story to 2+ hours. So it has to get draggy. Even the nasal singing sensations songs could not make up. This movies is good for a lazy Sunday afternoon and is really refreshing if you haven't watched the original TV serial. The script and the ending of the serial was much better #####SPOILERS AHEAD######### #####SPOILERS AHEAD######### #####SPOILERS AHEAD######### #####SPOILERS AHEAD######### #####SPOILERS AHEAD######### THe ending of the original serial was much stronger as the hero himself dumps the girl even thought she is willing to marry him. HE is aware and tell her that he doesn't want to be \"repayed\" and never helped with that intention. The director or the script writes somehow could not capture the original ending in this film. The original ending would have bought tears to the girls eyes and would have had the guys nodding in agreement. The deliver just wasn't right. But personally I feel this is a pathetic copy. No credit should be given to the director/scriptwriter. The story is amazing and is by one of the famous novel writers int he class of PRemchand munshi. I am not sure if this is premchand munshi's story but many of the other short stories int he series feature a few of premchand munshi's and other great Hindi writers stories.", "label": 1, "domain": "movie_review", "token_count": 493, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0343", "text": "While in her deathbed, Ann Lord (Vanessa Redgrave) repeats the name \"Harris\" and recalls the day on the 50's when she was an aspirant singer and traveled from New York to be the maid of honor of her wealthy friend Lila Wittenborn (Mamie Gummer) in Newport. Ann Grant (Claire Danes) is welcomed by Lila's alcoholic and reckless brother Buddy (Hugh Dancy) in the Wittenborn's cottage at seaside and he tells her that his sister is in love actually for their friend and servant Harris Arden (Patrick Wilson), who fought in the war and has graduated in medicine. Later the bride-to-be confesses her true feelings about Harris to Ann. However, when Ann meets Harris, she has a crush on him and they have a brief affair during one night stand while a tragedy happens with Buddy. Meanwhile Ann's daughters, the insecure and unstable Nina Mars (Toni Collette) and the happy wife and mother Constance Haverford (Natasha Richardson), are worried with their mother and have differences to be resolved. \"Evening\" has one of the best feminine casts I have ever seen in a movie, with magnificent performances. The resemblance of the stunning Mamie Gummer with her mother Meryl Streep is amazing and she has a performance that honors the name of her mother. The locations, costumes, set decoration, cinematography and soundtrack are also awesome. Unfortunately the plot is confused and I have not clearly understood the message of this film. Why motherhood is so important in the story? Was Constance engendered in the night stand of Ann and Harris and he would be her father? Why Ann and Harris have not stayed together, if the guy really loved her like he confesses in their occasional encounter in New York? Which issues Ann Lord has resolved after the visit of Lila Ross? Was Buddy Wittenborn bisexual or his love for Harris was a fraternal love? Why Nina Mars changed her thoughts about motherhood in the end? It seems that the screenplay writers or the director failed since they were not able to make sense and fulfillment to the beautiful love story. My vote is seven. Title (Brazil): \"Ao Entardecer\" (\"In the Eventide\")", "label": 1, "domain": "movie_review", "token_count": 460, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0344", "text": "I caught this movie on the Sundance Channel on cable one late afternoon. You might say \"Who Loves the Sun\" is a perfect leisurely pastime of a story, why ever not. You get to hang out with the trio: Lukas Haas is Will (returning after abruptly leaving everyone years ago), Molly Parker is Maggie (we learn she's very much part of the family Bloom), and Adam Scott is Daniel (is he friend or foe or fiancé), by the scenic Falcon Lake, Manitoba, Canada, captured in graphic compositions juxtaposed in vivid summer colors against sunshine and shadows. And supporting the trio are two more family members in the revealing mix: Wendy Crewson is Mom Mary Bloom, and R.H. Thomson is Dad Arthur Bloom. Writer-director Matt Bissonnette has delivered an ingenious unfolding of story-line and its various tentacle links - worry not, Haas may have a 'listless' face, but humor will come as Parker and Scott enter the circle of friends reunited, wry smiles will break and knowing delights stir. Dialogs may be terse or even nil, yet we'd get the flavor of what's cooking, bemused or wondering. Yes, \"Who Loves the Sun\" can very well be categorized as a sleeper gem. The chemistry between all five principals sure gels and 'combusts', giving an energetic ensemble performance. After all, it's all in the family, and the film sure doesn't take itself too seriously. Looks like the official site is still available at \"wholovesthesun.com\" and there are information on the soundtrack by Mac McCaughan (Portastatic with guitar tunes and strings) where score excerpts are being played, and behind the scenes production notes, interview with writer-director-producer Bissonnette on how the movie and concept came about, the casting and more. Have always appreciate Molly Parker since her spare yet mesmerizing performance in 1996 Lynne Stopkewich's 'Kissed', and she's married to Bissonnette, who \"wrote the Maggie part for Molly.\"", "label": 1, "domain": "movie_review", "token_count": 424, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0345", "text": "This noir may not be the best remembered film from the era, but it features a great mystery plot, the common noir atmosphere and some good performances from its lesser known cast members. Robert Siodmak, the talented director behind the mystery/horror classic 'The Spiral Staircase' directed this film two years earlier than the aforementioned film, and shows a real flair for creating a dark and brooding atmosphere as well as creating a plot that both intrigues and fascinates the viewer. Phantom Lady focuses on Scott Henderson; a man married to a woman he doesn't like. He picks up a lady in a big hat in a bar one night, and the two agree to a 'no strings attached' night of fun. However, he then returns home to find his apartment infested by police officers and soon finds out that the reason they are there is because his wife has been strangled with one of his neck ties! He's dismayed to find that no one he saw while with the mysterious woman can remember her, and naturally the jury sends him down for the murder of his wife. However, luckily for him his beautiful female employee gets on the case... The plot moves along nicely throughout, and unlike many of the better known noirs, this one features a few murders which make the proceedings more interesting. In fact, if it wasn't for the fact that it was made in the forties and shot in black and white, I would swear Phantom Lady was an Italian Giallo! The central characters are all interesting enough, with Alan Curtis providing a good portrayal of the unfortunate victim, and Ella Raines being effective as the female impromptu detective. The real standout of the film, however, is Franchot Tone, who provides a memorable performance as the insane villain of the piece. The film also features a role for supporting actor extraordinaire Elisha Cook Jr, who features playing the drums in the film's most memorable segment. If I was to criticise this film, I would say that the identity of the murderer is revealed a little too early - although Phantom Lady does deserve some credit on that front for the original way it goes about it. The conclusion is satisfying and everything makes sense (which is amazing considering the unlikely plot line) and overall, Phantom Lady is surely one of the greatest and most under-seen noirs ever made!", "label": 1, "domain": "movie_review", "token_count": 478, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0346", "text": "I think the reason for all the opinionated diarrhea on this movie is that most people have it out for Sharon Stone being around 50 and getting naked while playing sexy. No one cared when the Golden Girls sat around eating cheesecake and discussing their first orgasm, but to see someone post menopausal getting digitally pleased while driving I guess is just too much for some to handle. Let's face it, she looks good, she's light years hotter than my mother who's the same age! It's not an Oscar or a cult classic like the first, but ever since the turn of the century that's all movie goers seem to expect: a cinematic experience that will touch your soul. As such, it never claims to be either. It's an erotic thriller that is both erotic and thrilling, and is a continuation of a brilliant character that we all love to hate. It's the character of Catherine Trammell that helped give way for this sequel. Fans of the first movie want to see more of that frosty ice queen. The cinematography and art direction were lush and extravagant and made me want to move to Britian for sure. The score is amazing as well. Sure there's some overacting from some characters but there's some brilliant work from David Morrissey who's virtually unknown. There's a setback in that the script is virtually the same as the first movie only plugging in a psychiatrist in place of the cop. As well as the criminal decision of the MPAA to force the movie to be cut down even more which takes away from the guilty-pleasure raunchiness that the story is known for. At the very least it's entertaining and fun to look at it, and that's the movie's only intentions. So if you've got beef with Mizz Stone, maybe you should actually SEE the movie and draw your own conclusions before you spew forth your projectile vomit?", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0347", "text": "There is STAR TREK canon -- lots of it. From canon we know the history of the future. Advances in technology, events, places, first contacts with new beings, names, dates, etc. ENTERPRISE pretty much disregards much of ST canon. An unfortunate fact for long time serious fans. As one, I assumed that the producers would at least take a look at the first few episodes of TOS and retro back from there -- but no. The phase pistols, like much of the technology, look much more modern than found in TOS. An old style Starfleet laser gun, a slow gold speckle transporter effect -- that's what I expected to see. Also, I did not expect to hear pure beep-based sound effects similar to TNG but far apart from TOS sound effects. In the earliest view of TOS (the original pilot: THE CAGE), we see a Starfleet with a more formal military aspect -- a bit of old earth Navy. With ENTERPRISE, we see a shocking disregard for rank. There is more military code in the cartoon STAR BLAZERS than in ENTERPRISE. It is fine that Captain Archer is unsure about the needs of the Universe (quite unlike Kirk who never lacked confidence in his application of human justice), but inside ENTERPRISE everyone seems like an equal. Unprofessional, unsure, more distant from the feel of formal military service than found in any ST series -- and that says a lot! The casual country music opening theme song heralds the journeys of a family rather than the adventures of an important large military vessel. ENTERPRISE looks to show us a mostly fun, warm-fuzzy exploration of human relationships rather than take us on a historic, bold, gritty, high-rick exploration of space. I would have selected Adrian Paul to play the Captain and an older human to be the doctor. Still, I liked the actors for the most part. Linda Park, an outstanding ballroom dancer from Boston College, is sure to develop nicely. The characters making up the crew seem to be thoughtfully created. ENTERPRISE begins its run stronger than did the past three STAR TREK series. Let's hope for a good future!", "label": 1, "domain": "movie_review", "token_count": 445, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0348", "text": "I realize that alot of people hate this movie, but i must admit that it is one of my favorites. I happen to like it better then its predeccesor and happy to like it better than alot of movies. First off, I think that people never give the story any credit, much like Back to the Future, Time Travel is hard to write, and in this movie they included Time Travel and a Spiritual Journey. I also feel that Keanu and Alex were on there best performances in this movie, they looked cooler, acted cooler, and said cooler things. The set design of this movie is awsome as well, The sets are quite detailed and massive at times and it can be hard to believe that these sets were made for a movie about two teenage buds who can hardly spell...but isnt that the genius of the whole franchise, making these two idiots bigger than life characters that are responsible for the entire utopian future of earth. The costume design was awsome as well. Bill and Ted actually look cool in Bogus Journey, where as in Excellent Adventure they look rather like, well as they would put it, FAGS!!! Even the music in this movie is awsome, the score especially. There so much i could say about this film, cause i love it. But this is one of those movies i grew up watching and everytime i did i liked it more, so i can understand why people hate or just think its Bogus compared to Excellent adventure (which i also love by the way). GET DOWN WITH YOUR BAD SELF!!!!", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0349", "text": "Talk about a dream cast - just two of the most wonderful actors who ever appeared anywhere - Peter Ustinov and Maggie Smith - together - in \"Hot Millions,\" a funny, quirky comedy also starring Karl Malden, Robert Morley, and Bob Newhart. Ustinov is an ex-con embezzler who gets the resume of a talented computer programmer (Morley) and takes a position in a firm run by Malden - with the goal of embezzlement in mind. It's not smooth sailing; he has attracted the attention of his competitor at the company, played by Newhart, and his neighbor, Maggie Smith (who knows him at their place of residence under another name), becomes his secretary for a brief period. She can't keep a job and she is seen throughout the film in a variety of employment - all ending with her being fired. When Newhart makes advances to her, she invites Ustinov over to her flat for curry as a cover-up, but the two soon decide they're made for each other. Of course, she doesn't know Ustinov is a crook. This is such a good movie - you can't help but love Ustinov and Smith and be fascinated by Ustinov's machinations, his genius, and the ways he slithers out of trouble. But there's a twist ending that will show you who really has the brains. Don't miss this movie, set in '60s London. It's worth if it only to hear Maggie Smith whine, \"I've been sacked.\"", "label": 1, "domain": "movie_review", "token_count": 320, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0350", "text": "I entered my first comment on this film almost five years ago. Then, the ideas presented in the movie still seemed mostly fictional, if indeed they could ever transpire at all. Not any longer. Now, the politics, society, and media in The Running Man seem very close to home indeed. Consider the following factors, which were mostly absent in 1987 (the year The Running Man came out) that are present today: Concern with, as Richard Dawson's character Damon Killian puts it, \"traditional morality.\" CHECK Entertainment in the form of extreme reality, including pain, fear, and discomfort on the part of contestants. CHECK Cameras everywhere. CHECK Restricted travel for citizens at the whim of the government, controlled by a centralized computer system complete with barcoded passports (\"travel passes\" in the movie) and sanctioned under the guise of national security. CHECK An increased intermingling, bordering on incestuous, of government and media. CHECK Computer-generated graphics that are advanced enough to manipulate real film footage (such as the \"digital matting\" of Ben Richards' image onto the stunt double). CHECK Jailing of conscientious objectors or detractors of the current administration. CHECK Flagging economy further widening the gulf between the wealthy and not-so-wealthy; increasing numbers of fringe groups reacting to the tightening noose of big government; civil unrest brewing just under or at the surface of nearly every sizable public event regardless of its origin or intent. CHECK, CHECK, CHECK Then again, maybe it's just a movie based on a Stephen King novella. But just to be safe, I'm moving to Switzerland.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0351", "text": "Go way back to page ten of this review section, and work your way back up. Go ahead; I'll wait. Done? Well, then you've probably noticed the same trend that I have. You could nitpick all day long about the lame jokes, dated timing and obviously derivative plot points and shtick in 'Bogus', but this movie seems to be one of those 'hate me now, love me later\" flicks. Bill and Ted's biggest problem was that the original appealed to those 80's kids who followed the tends and considered themselves on the cutting edge of fashion. That worked fine for the original, but obviously bombed in 1991, when no self-unrespecting slacker would be caught dead wearing anything but flannel or admitting he liked anything about the 80's. As Ted would put it: \"Dude, this is a totally deep hole. Wanna play 20 questions?\" They say nostalgia goes in 20 year cycles, and that certainly seems to be the case here. Here in 2010, those of use who grew up with Cindi Lauper and Megadeth are beginning to look back to appreciate some of those pivotal films that (like it or not) made us who we are. If you're one of those who look at 'Bogus' as if it were an outdated (\"Fa gs!\") ripoff, then you're missing the point and probably spent six years growing facial hair, wearing flannel and looking like you just crawled out of bed. In self-referencing its own origins (the Star Trek episode\" and and time traveling with a phone booth), B&T makes no attempt to hide its creators' love for homage. Quentin Tarantino, anyone? I'm not saying 'Bogus' is 'True Love,' but I do think it needs to be appreciated for what it is: a fun snap-shot of our society at a time before child psychology, Ritalin, anti-smoking ads, terrorist paranoia and the proliferation of media fear-mongering. So, for all of you B&T haters out there...turn off your Screaming Trees CD, get that hair out of your face, go to the beach and lighten up. Narcissistic depression and intellectual ennui are SO corporate.", "label": 1, "domain": "movie_review", "token_count": 465, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0352", "text": "Good luck finding this film to even watch - it's not yet released on tape or DVD. I saw on release in the early '70's, was lucky enough to catch it via American Cinematheque's preservation efforts, and it still has some tangible moments that stayed with me for thirty years. No reason to repeat rwint's accurate comments here. As a come-out Director soon after the soaring success of Five Easy Pieces, Jack N has been said to have managed the low budget effort as best as possible, and it certainly shows in the wandering and meandering that could have used some re-cutting. But it's also a memorable icon for it's time: the all very intense clashes of late 60's college sports, student movements, sexual revolution, and more. Why see this film? It was probably a ground breaker in some scenes: the frisky male bonding in the after-game showers; Karen Black's scene with Tepper in the car will catch you a little off guard - but it's the first use of a word I hadn't witnessed in film before; and the casual and unexpected use of nudity overall. There are probably others I'm omitting. Look for a nice surprise of a young Cindy Williams in one of her first films; a thin David Ogend Stiers; Mike Warren fresh out of his powder-blue UCLA uniform and readying for a dark-blue TV uniform; Robert Towne - Actor; and a whole lot of folks simply playing themselves. Now: any connection between Harry Gittes last name, Robert Towne, and a certain character in Chinatown and the Two Jakes? It gets a \"7\" based on Karen Black. You'll see why.", "label": 1, "domain": "movie_review", "token_count": 343, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0353", "text": "After a love triangle story in Har Dil Jo Pyaar Karega these 3 stars were again chosen in this controversial flick. The film would have been considered as hit if there was not a controversy with the production values from Bharat Shah. Here director duo Abbas-Mustan did a very different and unique job as compared with their previous and after directorial ventures. They are considered as thriller makers of Bollywood. But in this CCCC they proved that they can equally handle to make a romantic family drama. Hardly there is a single action scene when Preity was being raped by Salman's colleague in her apartment, Salman slapped him. The movie has almost all the standards and ingredients like song, story, casting, performances etc. which are required to make a movie hit. But of course for Salman's fan this was something a surprise gift from him. Why? Because for so long he has been doing roles where he has a scene to show his open body and dance la-la-la all around. His role as a rich young businessman who has no-nonsense nature and of normal attitude is really impressive. After all Madhubala, a prostitute role performed by Preity is amazing. Later when she too turns out thoughtful about her life she deserve proper attention. Her facial expressions and body language become more attractive, and focus mainly goes to her. Her previous role as a pregnant woman in Kya Kehna was not that heart-touching as it is here. Of course, this can be termed as improvement. Then Priya, a very innocent and helpless wife of Raj who only depends on him for a better result. She has nothing powerful influence in the story as the main ingredients are in the hands of Preity. Finally, the main point of the story which is something rare and unique in itself. In real world of this age it is not totally impossible to happen such step of searching for a surrogate mother. Perhaps, many are happening in this large world where these are kept secret. And in this way the scriptwriter of CCCC has uncovered a hidden truth which is taking place in others daily lives. But still then it is a doubt.", "label": 1, "domain": "movie_review", "token_count": 431, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0354", "text": "This is one of the best crime-drama movies during the late 1990s. It was filled with a great cast, a powerful storyline, and many of the players involved gave great performances. Pacino was great; he should have been nominated for something. John Cusack was good too, as long as the viewer doesn't mind his Louuu-siana accent. He may come off as annoying if you can't stand this dialect. The way that Pacino's character interacted with Cusack's character was believable, dramatic, and slightly comical at times. Danny Aiello was superb as always. David Paymer was great in a supporting role. Bridget Fonda was good but not memorable. There were times when this picture mentioned so many characters, probably too many. It may take a second viewing to remember, \"which Zapatti was which?\" After so many cross-references, one has to stop and think just to recap. The ending didn't have a lot of sting. It was built up for so long and then was a bit of a letdown. This was one of the few problems with the film. Since the movie wasn't billed as a \"huge, blockbuster\" big screen hit, it made some forget that this movie even existed. Pacino and Aiello were great but the film's lack of \"splash\" in the theaters may have accounted for no nominations. It was semi-successful in the home market, and viewers are still learning that this title is out there. Made in 1996, it still stands up today and will remain popular for many years to come. So, make yourself some lemon pudding (you'll see) and see this movie!", "label": 1, "domain": "movie_review", "token_count": 344, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0355", "text": "If any style of film could be called my \"guilty pleasure\", it'd be this generic fantasy type. Guilty is the wrong word for it, though, as I'm pretty pleased to be an escapist from time to time. \"Stardust\" is good stock fantasy, the likes of which one should expect from Neil Gaiman (or Gaiman adaptation, as it were). It isn't the visual dream-scape of Mirrormask, it isn't the adult pretension of Pan's Labyrinth, and it isn't the fun-loving classic The Princess Bride, but it contains just what the fantasy-lover is familiarized enough with to be completely comfortable during the entire viewing. Fantasy lovers should rejoice--special effects work has finally become good enough and cheap enough that this stuff is in regular production now. The story of Stardust involves a young man named Tristan who, in order to gain the love and approval of the most beautiful girl in their small town of Wall, goes on an adventure to retrieve a fallen star. To make things difficult, however, Tristan's fallen star is actually a woman named Yvaine, and he's not the only one looking for her... some witches have their greedy eyes on the immortality the star's heart can give, and a brother's feud over the magic kingdom leads murderous princes in her direction. From there it's all pretty predictable, but it involves some attractive fantasy elements, some warm-hearted commentary on the nature of love, and the best part, Robert DeNiro as a gay pirate. On that note, DeNiro's performance is spot-on... it's not the excessive lisp that most actors use to portray gay people, but a surprisingly effective one from someone used to being seen as a rough-and-gruff typecast character (thus the ongoing joke surrounding his character matching DeNiro's own opening up into alternate forms of acting). DeNiro hasn't been so unique to his own image since Brazil, and that's saying something. Stardust is the type of movie, perhaps, that will subsist on children's and fantasy-lover's shelves for a long time. I can't say it offers anything new, but it's not really there to. It's actually those most familiar with it's tropes that will enjoy it the most. --PolarisDiB", "label": 1, "domain": "movie_review", "token_count": 476, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0356", "text": "Hilarious, evocative, confusing, brilliant film. Reminds me of Bunuel's L'Age D'Or or Jodorowsky's Holy Mountain-- lots of strange characters mucking about and looking for..... what is it? I laughed almost the whole way through, all the while keeping a peripheral eye on the bewildered and occasionally horrified reactions of the audience that surrounded me in the theatre. Entertaining through and through, from the beginning to the guts and poisoned entrails all the way to the end, if it was an end. I only wish i could remember every detail. It haunts me sometimes. Honestly, though, i have only the most positive recollections of this film. As it doesn't seem to be available to take home and watch, i suppose i'll have to wait a few more years until Crispin Glover comes my way again with his Big Slide Show (and subsequent \"What is it?\" screening)... I saw this film in Atlanta almost directly after being involved in a rather devastating car crash, so i was slightly dazed at the time, which was perhaps a very good state of mind to watch the prophetic talking arthropods and the retards in the superhero costumes and godlike Glover in his appropriate burly-Q setting, scantily clad girlies rising out of the floor like a magnificent DADAist wet dream. Is it a statement on Life As We Know It? Of course everyone EXPECTS art to be just that. I rather think that the truth is more evident in the absences and in the negative space. What you don't tell us is what we must deduce, but is far more valid than the lies that other people feed us day in and day out. Rather one \"WHAT IS IT?\" than 5000 movies like \"Titanic\" or \"Sleepless in Seattle\" (shudder, gag, groan). Thank you, Mr. Glover (additionally a fun man to watch on screen or at his Big Slide Show-- smart, funny, quirky, and outrageously hot). Make more films, write more books, keep the nightmare alive.", "label": 1, "domain": "movie_review", "token_count": 431, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0357", "text": "Perhaps the most personal of David Lynch's works is his most accessible. This time, rather than the enigmatic thematic structures that may or may not involve a plot or represent anything more than vivid nightmares, Lynch provides a reflective, fragile meditation on the universal subjects of aging and family and finds reassurance in both. The simple true story of an Iowa farmer (Richard Farnsworth) who rides a lawn mower to Wisconsin to visit his estranged, stricken brother, there are still plenty of the unique and original visual dreamscapes (some rather striking aerial shots of the heartland, filmed by veteran cinematographer Freddy Francis) to make it an undeniable Lynch effort and characterizations that are some of his most unforgettable. Farnsworth is excellent in a stoic yet personable way, allowing the stories he hears on his journey to become a part of his life, and Sissy Spacek turns in some of her finest work in a smaller role as his mentally challenged yet observant daughter (whose painful secret is revealed in a poignant way through a gentle turn in the sensitive script by John Roach and Mary Sweeney) but the rest of the small cast to a person delivers indelible performances, one of the most notable being Barbara Robertson, whose accidental killing of a deer is both uproarious and sad at the same time. But that's vintage Lynch with his ability to engage and unsettle you at his best. To those unfamiliar with Lynch or know him only by his violent, disturbing reputation, this is an excellent place to begin; for those who know his work, this is one of the finest in his repertoire.", "label": 1, "domain": "movie_review", "token_count": 325, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0358", "text": "\"Jag är nyfiken – Yellow\" is a lot of fun. Like at least one other reviewer, I was, on numerous occasions, laughing out loud. Yellow is energetic, playful, self-aware, explorative. Don't expect Bergman here. This movie is about a youth in the early- to mid-60s in Sweden and about the issues, read *contradictions*, that the nation and the world were facing. At times Yellow appears to be an earnest social-political documentary, with Lena, the main character, and others interviewing both common people and politicians (e.g. Olaf Palme at home). At other times, Yellow seems to parody this kind of documentary. All the while, Yellow acts as a personal documentary exploring Lena's life - her home life, her loves, her political views, her view of herself. She is a complete person – complex, flawed, contradictory, happy, sad, curious. And placed over all of this is the wonderful additional dimension of the director, Sjöman, and his crew documenting themselves documenting Lena. It is this that, for me, really gives Yellow wings. Not only do they suddenly appear at some very funny times and in some funny ways, reminding the viewer that this is fiction and artifice, but their presence is itself another layer of the film; they are filming themselves filming themselves. I am reminded of a Bjork music video with this same quality – a music video about the making of a music video, ad infinitum, with each iteration getting weirder and more cartoonish. I think Sjöman may have had something similar in mind. While \"Jag är nyfiken – Yellow\" may not be everyone's cup of tea, it is certainly intelligent, witty, refreshing, ebullient, and authentic.", "label": 1, "domain": "movie_review", "token_count": 372, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0359", "text": "This is the best picture about baseball since Redford whacked The Natural our way. Dennis Quaid and Rachel Griffiths light up the screen with a great story and a cast that seemed real enough to pull you into their lives. Laced with dreams - dripping in reality, the American Dream reignites after 9.11 with a true story about the Devil Ray's mid-life rookie, Jimmy Morris. Australian born actress, Rachel Griffiths, plays a native West Texan better than a lot of Texans I know; and Dennis Quaid was perfection cast as the wannabe, gonnabe and humble winner with as much psychological baggage as the average viewer in the audience. It's real. The on-screen chemistry works. If you like baseball heart-warmers, you're going to love this film. The ingredients for Americana and apple pie were all in there. My popcorn became the ‘a la mode'. And hey: buy the CD! The music rocks and carries the story magnificently! Syncing words and music pushes the story forward exactly the way it should, an area that disappoints me more often than not. Criticisms: I'd have given the baseball to somebody else. But Quaid has something to teach us all about ‘character' and heart. St. Rita and the nuns were a nice decoration, but they never really found their place in the story to open and close around them. A little long. Worth every minute in the last analysis. 8 / 10.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0360", "text": "This is a very good Spanish movie but I am worried that many out there will feel lost because many around the world have no idea what the Spanish Civil War was all about or when it was fought. Being a history teacher, I had a big advantage but could easily see how the film could be confusing until you piece together all the pieces. I doubt if this would be a big concern in Spain where this film was made, but for other audiences they may be a bit confused until later in the film. The movie begins with 12 year-old Carol and her mother returning to her mother's home town. Years have passed and you gather that they are coming to Spain from New York City. Despite the strangeness, Carol speaks reasonably good Spanish and much of the film is about how she adapts. As for why her and her mother are alone, I'll spill it now for those who don't pick up on the fact that Carol's father is fighting in the war on the side of the Republicans (who eventually lost in this very bloody conflict). The movie gets exceptional marks for its lovely camera work and music. The rather slow and rambling pace isn't bad provided you are someone who can accept films this way. I have seen several other Spanish films about this war and this compares pretty well to them--not better or worse--just a decent slice of life film about those who are left behind as well as a nice coming of age flick. PS--If you don't know which side is which, the Republicans were mostly Socialists and they were backed by the Soviet Union and Mexico as well as volunteers from many countries (including the USA). The Nationalists were led by Franco and were aided by Portugal and the Fascist states of Germany and Italy.", "label": 1, "domain": "movie_review", "token_count": 352, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0361", "text": "With lots of sunshine, gauzy light and shadow filtering through windows and into rooms, tracking shots moving through crowds with hand-held camera, quick-paced editing and extreme close-ups here and there, the photography is the thing in this interesting, artistically done film. The plot of this film starts out as a bit of fluff about a beauty contest. The film begins on a warm Sunday at the local swimming pool, where we meet the lovely Lucienne aka Lulu (played by Louise Brooks) - a bit of a show-off in front of the gawking men by poolside, she soon decides to enter herself to represent France in the Miss Europe beauty contest, much to the chagrin of her very jealous, stick-in-the-mud fiancé (a pretty annoying fellow, really). Strutting down the runway the ten contestants display themselves in swimsuits, while the winner is chosen as the contestant who receives the longest applause (I was wondering, couldn't the girls just walk slower to prolong their length of time - and thus applause - on the catwalk?!). Lulu is soon being chased by a Prince and a Maharaja, but her hot-headed beau doesn't like the attentions paid to her by other men or her adoring public, for that matter (I guess he just wants her in his house, cooking his meals, and staying out of sight, eh?!). Louise Brooks is beautiful and charming, her presence helps enhance this film, but it's really the way it is photographed that held my interest the most. A bit distracting is the odd dubbed sound, which is a bit off. The print on this version looked very clear and full of nice contrast though. Watching this I just tried to overlook the sound problems and watch the film visually, and I found the movie to be excellent, well worth seeing.", "label": 1, "domain": "movie_review", "token_count": 370, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0362", "text": "This timeless proverb reverberates in this movie and in my heart. So many years have I waited to see this eternal story! I was not ready, perhaps. It is possible that my sensibilities would not have appreciated its power. So I now gratefully welcome it into my soul with gladness. My respect and admiration for PAUL MUNI has been long. His is now a legendary luminescence. But now I have finally discovered the priceless gifts of LUISE RAINER's splendid talents. Oh, how many faces can speak as did hers? Some have said that it was wrought from her silent years, and this well might have been but her speech, is eloquent enough when it is given a chance. She amply deserved her Oscar. This movie is in an epic in the most classical proportions. All parts equal, necessary and perfect. Naysayers may walk away if they wish, but they would be shunning a storytelling which stays with one a lifetime. THE GOOD EARTH enriches one in ways that one does not expect. But all will not come from it with the joy that I did. But I can only hope that this film will be remembered for many years. Do not prod me with mere technicalities regarding the race of the principal players. These are expectations of modern times when we are obsessed with utter perfection. But I dare a million score of newer films to tell PEARL BUCK's story with such poignancy, power, conviction and grace. If any modern artist would dare to re-film this masterpiece, I warn them that they will never come close to the aromatic fragrance which still emanates from the core of this telling. Time will not diminish this effort nor will progress improve upon its greatness.", "label": 1, "domain": "movie_review", "token_count": 354, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0363", "text": "Tales from the Crypt: And All Through the House starts on Christmas Eve as Elizabeth (Mary Ellen Trainor) kills her husband Joseph (Marshall Bell), she drags his body outside ready to throw it down a well but while doing so misses an important news bulletin on the radio that says a homicidal maniac (Larry Drake) dressed as Santa Clause has escaped from a local mental asylum & has already killed several women with Elizabeth next on his list but she has other ideas & tries to turn the seemingly dangerous situation to her advantage... This Tales from the Crypt story was episode 2 from season 1, directed by the one of the show's regular executive producers Robert Zemeckis And All Through the House is a decent enough watch. The script by Fred Dekker was actually based on a story appearing in the comic 'The Vault of Horror' & was originally adapted to film as one episode from the Britsih horror anthology film Tales from the Crypt (1972) which starred Joan Collins as the murderous wife character here played by Ellen Trainor. This particular version is good enough but doesn't do anything different or special & is a bit too linear & predictable to be considered a classic. At only 25 minutes in length it certainly moves along at a good pace, the story is just about macabre enough & it generally provides decent entertainment & I quite liked the downbeat ending. This time there are Christmas themed opening & closing Crypt Keeper (John Kassir) segments complete with the usual puns. Director Zemeckis does a good job & there's a nice winterly atmosphere with a hint of Christmas influence as well. There's not much gore here, someone has a poker stuck in their head, someone's face is cut with an icicle, someone's arm is cut with an axe & there's some blood splatter but generally speaking it's not that graphic. The acting by a small cast is pretty good. And All Through the House isn't the best tale from the crypt but it's a decent one all the same, worth a watch but after the comic book story & original 1972 film version did we really need or even want this?", "label": 1, "domain": "movie_review", "token_count": 440, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0364", "text": "Many of the classic films of the late '60s haven't retained their ability to disturb and confront the audience. \"In Cold Blood\" hasn't lost an ounce of its power. Its exceptionally well made yet forces the viewer to think. Some have complained not only about the film, but about Truman Capote's source \"non-fiction novel\", that the central message is unsubtle. That may be true, but this is definitely a case where the lack of ambiguity doesn't detract from the film at all. Its refreshing, especially considering today's simplistic and manipulative moral dramas, to see a film with a convinced political voice unafraid to force the audience to consider its viewpoint. To be honest, I'm not sure if I agree with the film's central message, but I admire its audacity nonetheless. Even if you disagree with the anti-capital punishment message, there's plenty to admire about the film. The acting from the two leads is terrific. Scott Wilson (still one of the most underrated actors ever) is chilling as the nihilistic leader, one who uses his charisma to hide his weaknesses. Robert Blake is also chilling as the more submissive of the two and the one with a conscience. His character obviously has a voice of reason, but is terrified to go against Wilson (theres a good amount of homoerotic subtext on his character's part). The cinematography is terrific, sleek yet gritty and really giving the impression the viewer is watching a documentary. Add another classic score from Quincey Jones, and you have a masterpiece. (9/10)", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0365", "text": "Daniel Day Lewis is one of the best actors of our time and one of my favorites. It is amazing how much he throws himself in each of the characters he plays making them real. I remember, many years ago, we had a party in our house - the friends came over, we were sitting around the table, eating, drinking the wine, talking, laughing - having a good time. The TV was on - there was a movie which we did not pay much attention to. Then, suddenly, all of us stopped talking and laughing. The glasses did not clink, the forks did not move, the food was getting cold on the plates. We could not take our eyes off the screen where the young crippled man whose entire body was against him and who only had a control over his left foot, picked up a piece of chalk with his foot and for what seemed the eternity tried to write just one word on the floor. When he finished writing that one word, we all knew that we had witnessed not one but three triumphs - the triumph of a human will and spirit, the triumph of the cinema which was able to capture the moment like this on the film, and the triumph of an actor who did not act but who became his character. Jim Sheridan's \"My Left Foot\" is an riveting, unsentimental bio-drama about Christy Brown, the man who was born with cerebral palsy in a Dublin slum; who became an artist and a writer and who found a love of his life. I like every one of Day Lewis's performances (I have mixed feelings about his performance in GONY) but I believe that his greatest role was Christy Brown in \"My Left Foot\"", "label": 1, "domain": "movie_review", "token_count": 346, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0366", "text": "How can anyone argue the fact that Urban Cowboy was, and still is, the best document of Texas life for the time period. Consider the following: men beat their wives, get drunk at bars nightly, get married to settle a fight, commit adultery, and compete on mechanical bulls. Try and name a movie that depicts real life so vividly. They dont make them anymore. It seems current films are always about people with lots of money, they live in huge homes, drive expensive cars and don't work. This movie has a celebration scene about getting a trailer for pete's sake ! Anyway, I watch it at least once a week. No kidding. I have dissected this movie from end to end. feel free to email me to learn more about my reason for calling it a documentary. Consider the following scenes: Bud sees Sissy - they are split up - he amicably honks and waves, she flips him the bird - he returns half the peace sign honking his horn to add impact then tears off. Buds mom calls him approx. 18 hours after he gets into town, on a Sunday, to see if he has a job yet - all he has accomplished is getting drunk and laid(x2), with help from his uncle and aunt who cover for him. \"You all live like pigs\" Think about why this scene is needed. Think about it. Was it necessary ? Could we not figure it out without showing the filthy sink ? God I love that ! Sissy allows Wes to help her ride the bull. Only a few days (or possibly the next day) after Wes just kicked the crap out of her husband. Steve asks - Hey Sissy, remember Wes ? Oh yeah, didnt you beat my husband up the other night, so let's get this lesson goin', to make no mention of the fact that she seeks solace in him later during one Bud and Sissy's many fights, which by the way all take place in public - in Gilley's ! The Wedding reception picture taking session (oh the humanity !) could they at least arrange or move the chairs out of the way. \"My legs are sweatin' momma\" In conclusion, you don't put scenes like this in a movie to try and show insight into human psychology. It is a documentary of real life. I only wish there was a director's cut....", "label": 1, "domain": "movie_review", "token_count": 482, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0367", "text": "I got this movie from Netflix after a long waiting time, so I was anticipating it greatly when it arrived. My worst fears were that it would be plodding, as well as... well, you know what all the screaming fan girls were babbling about? GACKTnHYDE=hawt yaoi love? That sort of thing? Dreading it. I was very, very pleasantly surprised. The movie was surprisingly watchable, even if the filming and music did make it feel like someone was going to bust out a pair of nun-chucks every two scenes, and the acting on Gackt's part was quite good. Hyde, being, um, Hyde, acted as a quasi-romantic friend/gang member character that anyone who saw him on stage would hardly be surprised by. He's one of my two major beefs with the film itself. But the rest of the cast (including the child actors in the opening scene) were very good at doing what they did- which was, mostly, get shot at and yelled at. But my second problem was very minor, having to do with the goriness. It seemed way too suspense-horror to me- like every scene where someone is shot they either slump over, really most sincerely dead, or lay there burbling for a rather long time. But Sho just... takes the shots, repeatedly, keels over, bubbles a LOT while he talks, and makes Hyde cry. All in all, if you're a fan of any of the actors or just a j-film fan, it's definitely worth a watch.", "label": 1, "domain": "movie_review", "token_count": 325, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0368", "text": "CAROL'S JOURNEY is a pleasure to watch for so many reasons. The acting of Clara Lago is simply amazing for someone so young, and she is one of those special actors who can say say much with facial expressions. Director Imanol Urbibe presents a tight and controlled film with no break in continuity, thereby propelling the plot at a steady pace with just enough suspense to keep one wondering what the nest scene will bring. The screenplay of Angel Garcia Roldan is story telling at its best, which, it seems, if the major purpose for films after all. The plot is unpredictable, yet the events as they unravel are completely logical. Perhaps the best feature of this film if to tell a story of the Spanish Civil War as it affected the people. It was a major event of the 20th century, yet hardly any Americans know of it. In fact, in 40 years of university teaching, I averaged about one student a semester who had even heard of it, much less any who could say anything comprehensive about it--and the overwhelming number of students were merit scholars, all of which speaks to the enormous amount of censorship in American education. So, in one way, this film is a good way to begin a study of that event, keeping in mind that when one thread is pulled a great deal of history is unraveled. The appreciation of this film is, therefore, in direct relation to the amount of one's knowledge. To view this film as another coming of age movie is the miss the movie completely. The Left Elbow Index considers seven aspects of film-- acting, production sets, character development, plot, dialogue, film continuity, and artistry--on a scale for 10 for very good, 5 for average, and 1 for needs help. CAROL'S JOURNEY is above average on all counts, excepting dialogue which is rated as average. The LEI average for this film is 9.3, raised to a 10 when equated to the IMDb scale. I highly recommend this film for all ages.", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0369", "text": "basically, i like Verhoeven film because in his film, i enjoy a brilliant pscychosexual story that i have seen before in \"Basic Instinct\".it is really a wonderful thriller i enjoyed very much.so it is obviously for me to watch this another Verhoeven movie. well, it is his previous direction before his block buster hit \"Basic Instinct\" and for that i was very much curious to watch that movie and yeah, the movie has fulfilled my hope and expectation. this movie \"The Fourth Man\" is a brilliant pscychosexual drama which is a lit bit complex for some audiences. the story of this movie is about a gay writer named \"Reve\"(Krabbe), an alcoholic person who is lives by his own moral values and sees many visions that may warn him from a future accident.after the end of his lecture, he introduce a seductive woman named \"Christine\", who has a mysterious past she doesn't want to reveal.Reve do sex with her at her house as she is a boy.next morning, he watch her sexy, macho boyfriend's picture on her table, the person he met at the station.he is curious to meet him and tell Christine to invite him to her house. that's it. i don't want to reveal the entire story because it is a Verhoeven movie and the end of the film is really surprising! especially, i like the character \"Reve\" which is brilliantly played by \"Krabbe\".i basically like his acting because as a gay person i am purely identified with his character and yeah i like his charming face. i would like thanks Mr.Verhoeven to make such a black comedy. i rate this movie: 10 out of 10.", "label": 1, "domain": "movie_review", "token_count": 356, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0370", "text": "The 40 Year Old Virgin, is about Andy Stitzer, a forty year old man who works in an electronic store and doesn't have much of a social life and is very awkward around women. Some of his co-workers at the store invite him out one night and they discover that Andy, is still a virgin so they plan to help him lose his virginity. One day in the store Andy, meets a woman named Trish, who gives him her phone number and eventually Andy, works up enough courage to go on a date with her and they start to really like each other but Andy, is still very awkward when it comes to sex and he is going to have to tell this to Trish, much to his embarrassment if he can actually get up enough courage to tell her before things get awkward. The 40 Year Old Virgin, has good direction, a good script, good comedic performances by the whole cast, good cinematography and good film editing. The film stars and is co-written by Steve Carell, who does a very good comedic breakthrough performance and his writing for the film is very good too. I was very pleasantly surprised with this film. It is sweet, funny, entertaining, fun, enjoyable, clever, good natured and a good time. This film is just as good as this year's Wedding Crashers, and both films are two of the best comedies I have seen in awhile. The 40 Year Old Virgin, really showcases a lot of talent and it is put to good use and it works as a comedy and a romance and it is sweet and a lot of fun. One of the biggest surprises and one of the best comedies of the year.", "label": 1, "domain": "movie_review", "token_count": 340, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0371", "text": "This is film-making at it's simplest and it's best. I had my doubts, because even though Freeman is great actor, sometimes he gets involved in bad projects; this is not one of those times. It's a small story that runs just over an hour and fifteen, in a time when we are getting used to having movies become longer and longer, and not necessarily better, the director uses the short time to his advantage, because the characters are so well defined from the start (great portrayals by freeman and Vega by the way), that the little bit of background info on them seems real, Morgan is himself even though his name is not mentioned, he has been out of movies for a couple of years now because he was saturated by the business, and developed a fear to commit to a script, and is doing research for a character in a indie movie where he plays a store/supermarket manager. The story begins by him being drop of in a supermarket in a rough neighborhood, where he meets the cashier of the 10 items or less (Vega) and has to take a ride with her cause \"the production\" forgot to pick him up. In many ways it's a road movie, Morgan provides the laughs, and quirks with his unbeatable smile and positive perspective on everything, showing off an accomplished actor who has trained his mind to be able to define everyone he sees into a character he could play, and Paz (by the way, what an extraordinary beautiful woman, even more gorgeous than Penelope Cruz) brings the vulnerability of a 25 years old separated woman who works harder than everyone else without getting any credit in a dead end job at a crappy supermarket. It's a talkie, there is a lot of dialog, but the balance between light and fun and serious and sad is well sustained, the characters become so lovable right away that you spend the last 20 minutes begging for more screen time of this odd couple, but the shortness is in the nature of the story, so it was a good call from the director not to give in.", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0372", "text": "As a child I preferred the first Care Bear movie since this one seemed so dark. I always sat down and watched the first one. As I got older I learned to prefer this one. What I do think is that this film is too dark for infants, but as you get older you learn to treasure it since you understand it more, it doesn't seem as dark as it was back when you were a child. This movie, in my opinion, is better than the first one, everything is so much deeper. It may contradict the first movie but you must ignore the first movie to watch this one. The cubs are just too adorable, I rewind that 'Flying My Colors' scene. I tend to annoy everyone by singing it. The sound track is great! A big hand to Carol and Dean Parks. I love every song in this movie, I have downloaded them all and is all I am listening to, I'm listening to 'Our beginning' also known as 'Recalling' at the moment. I have always preferred this sound track to the first one, although I just totally love Carol Kings song in the first movie 'Care-A-Lot'. I think the animation is great, the animation in both movies are fantastic. I was surprised when I sat down and watched it about 10 years later and saw that the animation for the time was excellent. It was really surprising. There is not a lot of back up from other people to say that this movie is great, but it is. I do not think it is weird/strange. I think it is a wonderful movie. Basically, this movie is about how the Care Bears came about and to defeat the Demon, Dark Heart. The end is surprising and again, beats any 'Pokemon Movie' with the Care Bears Moral issues. It leaves an effect on you. Again this movie can teach everyone at all ages about morality.", "label": 1, "domain": "movie_review", "token_count": 382, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0373", "text": "STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning A notably bad actor, getting by on his (now fading) looks rather than any strong dramatic talent, Richard Gere has always occupied a rather curious position in the American Hollywood scene, always a sure bet in leading man roles who still holds a notable presence today. But nowadays he seems to have settled more into these sort of direct to DVD/limited release roles and as such maybe seems to be more settled in his forte now. He has to draw on some stern matter here as hardened, cynical case worker Earl Babbage, one such worker assigned to a few hundred sex offenders in one area of the US, who along with his new protégé Allison Allthrop (Claire Danes) must take to his latest case, delving into the abduction of a young woman while trying to forgive himself for a case he failed on ages ago. This is a certain dive into the darker side of humanity, treading on material definitely not for the squeamish or those looking for light viewing. And as such it's a pretty strong, compelling film, unflinching and not constrained by it's direct to DVD budget. The only thing really pulling it back is the overly used jittery, fast cutting camera sequences used in the more dramatic moments that look a bit corny after a while. But it's still some of the solidest material I've seen Gere in, relentlessly getting darker and more over the edge as it goes on. ***", "label": 1, "domain": "movie_review", "token_count": 310, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0374", "text": "UC 0079, the One Year War is almost at an end. A neutral colony of Side 6 has been targeted by Cyclops, a Zeon task force. Their target, a new Gundam being built exclusively for Newtypes (supposedly built for Amuro Ray from the original Gundam saga) inside. When little boy Al Izuruha, a fan of Zeon MS, encounters a Zaku after battle breaks out in the colony, he befriends newbie MS pilot Benard \"Bernie\" Wiseman. The two become good friends, Al is treated as an honorary member of the Cyclops team. Through the show, Bernie acts as a father figure to Al (whose real father is always working) and seems to be taken with Federation pilot Christina McKenzie, but eventually they must meet....in battle. Al soon learns that war is not child's play and Bernie must choose to make the ultimate sacrifice to complete his mission. For only 6 episodes, Gundam 0080 is a well done show. The mobile suits are extremely well designed, and the animation may look dated but really shows emotion in the characters. If you liked 0083 then check this one out, or if you are new to the Gundam world, this is a good show to start with. If you look to a show for drama and character development, this is the one for you, it focuses more on that then mobile suit battle. I would rate it more of a drama than action. Mobile Suit Gundam 0080, War in the Pocket. Sometimes you have to lose to win.", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0375", "text": "[No Spoilers] Being a David Lynch film, one could have the idea that it depicts that enigmatic mind of his like the majority of his feature films do. But it is a very straight story as the title might hint. Don't except to be caught in the usual Lynchian void of incomprehensibility that usually occurs after viewing i.e. Lost Highway. It is a simple film but it is indeed a great film. That is both from a innovative and an entertaining aspect. It's innovative because it so not Lynch. But maybe that IS Lynch. He likes to twist our minds and therefore puts together a film that might seem very mainstream and far from Lynch himself. Being a very avantgarde director, he might just make a film like this just to tease his regular audience because he knows what they expect but he doesn't give it to them. That would be crafty. The pace of the film is slow. I would almost say lawn mower speed... Don't expect an action orgy, but the film is truly entertaining for the ones who go with the flow of the film. Look carefully for those small details that Lynch plot throughout the movie for our entertainment. Look for the great cinematography that makes this film come to life. And listen to Badalamenti's score and the main theme that really animates the Iowa and Wisconsin landscapes shown frequently. Farnsworth puts in one of his best performances in this film, making him one of the most likeable ol' men ever depicted on film. He doesn't have to say anything to express his feelings and thoughts. His cheerfulness just shines right through him and his acting earned him an Oscar nomination. Need I say that his weak health in this film wasn't acted? He was diagnosed with cancer and shot himself right after this film was complete. That knowledge just puts more emphasis on the film because it becomes more of a homage to Farnsworth. All of the above form a very nice motion picture that is suitable for all kinds of people that like a film the way they are supposed to be done. One could ask for homilies that aren't that obvious and a bit naive but it doesn't ruin the overall picture, being that it is a memorable motion picture. 9/10.", "label": 1, "domain": "movie_review", "token_count": 455, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0376", "text": "First of all, in defense of JOAN FONTAINE, it must be said that Ginger Rogers would have been terribly miscast as Alyce, the young British lady who has the title role. Fontaine makes a fetching picture as the heroine here, but her acting inexperience shows badly and her dancing is better left unmentioned. Fortunately, she went on to better things. But here it's FRED ASTAIRE, GEORGE BURNS and GRACIE ALLEN who get the top billing--and they are excellent. Fans of Burns & Allen will be surprised at how easily they fit into Astaire's dance routines. Especially interesting is the big fun house routine that won choreographer Hermes Pans an Oscar. They join Astaire in what has to be the film's most inventive highlight. Unfortunately, not much can be said for the slow pacing of the story--nor some of the stale situations which call for a lot of patience from the viewer. It must be said that some of the humor falls flat and the usual romantic misunderstandings that occur in any Fred Astaire film of this period are given conventional treatment. Only the musical interludes give the story the lift it needs. Some pleasant Gershwin tunes pop up once in awhile but not all of them get the treatment they deserve. The nice supporting cast includes Reginald Gardiner, at his best in a polished comic performance as a conniving servant, Constance Collier and Montagu Love (as Joan's father mistaken as a gardener by Astaire). It's a lighthearted romp whenever Burns & Allen are around to remind us how funny they were in their radio and television days. Both of them are surprisingly adept in keeping up with Astaire's footwork. Director George Stevens makes sure that Joan Fontaine's hillside dance number with Fred is filmed at a discreet distance but clever camera-work cannot disguise the fact that she is out of her element as Astaire's dance partner, something she seems painfully aware of.", "label": 1, "domain": "movie_review", "token_count": 407, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0377", "text": "It is not an easy film to watch - it is over three and a half hours long and it is composed entirely of conversations. Yet it is so incredibly compelling and ruthlessly observational of the human character, that it is, in my humble opinion, one of the very greatest films of all time. The film is depressing, cynical and cruel. (If you want something uplifting, see Jacques Rivette's fantastic Céline and Julie Go Boating, which was made around the same time). It shows the idealism of the late 1960s to be nothing different from the society that it was trying to change. It involves a supposedly liberated ménage-à-trois between Alexandre (played by Jean-Pierre Leaud), Marie (Bernadette Lafont) and Veronika (Francoise Lebrun). Yet Alexandre is shown to be as chauvinistic and jealous as any other man. The women are exposed as being willingly subservient and defining their femininity through the male gaze. The film is an extremely icy end to the highly revolutionary French New Wave. This movement was one of the most significant movements in film history and had a profound effect on cinema as we know it. Jean-Pierre Leaud was one of the key actors of the New Wave, having starred (among other films) in the influential Les Quatres Cent Coups (1959) by Francois Truffaut as a rebellious teenager. Director Jean Eustache is not as well known as other directors from the New Wave, but he should be. There is no improvisation (unlike in John Cassavetes's similar films made in the US) and the dialogue comes from real-life conversations. The film is resonant with Eustache's personal experiences. For example, Francoise Lebrun was a former lover of Eustache. Eustache himself committed suicide in 1981 and the real-life person that the character Marie was based on, did too. The anger and bitterness all culminate in a harrowing monologue by Veronika delivered directly to the audience, breaking down the coldly objective nature of the rest of the film. This mesmerising, personal, and honest filmic statement remains one of the most revealing films of human nature around.", "label": 1, "domain": "movie_review", "token_count": 463, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0378", "text": "'Had Ned Kelly been born later he probably would have won a Victoria Cross at Gallipolli'. such was Ned's Bravery. In Australia and especially country Victoria the name Ned Kelly can be said and immediately recognised. In Greta he is still a Hero, the life Blood of the Town of Jerilderie depends on the tourism he created, but in Mansfield they still haven't forgotten that the three policeman that he 'murdered' were from there. Many of the buildings he visited in his life are still standing. From the Old Melbourne Gaol where he was hanged, to the Post office he held up in Jerilderie. A cell he was once held in in Greta is on display in Benella and the site of Ann Jones' Hotel, the station and even the logs where he was captured in Glenrowan can be visited. Evidence of all the events in the movie (except for his love interest) can be found all over Victoria, in police records and even in the Sash that Ned was awarded with for rescuing Dick Shelton from drowning. None of this is wrong, and whats left out would further justify Neds actions. The Horse that Ned 'stole' was actually stolen by Wild Wright (the man who Ned boxes with after getting out of jail). Ned was already in prison when the horse was reported stolen so he couldn't have stolen it. The Jerilderie Letter is more than what has been stated before. It is not self justification it is Ned's biography, an outline of what he stood for and who he was protecting. So go ahead and read it, watch the movie and then make up your mind about what Ned stood for.", "label": 1, "domain": "movie_review", "token_count": 343, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0379", "text": "This is the second Eytan Fox film I have seen. The fantastic actor, Lior Ashkenazi, who starred in Walk on Water, has a minor role in this film also. But the real stars are the young Israelis who live together in a tiny apartment - Noam (Ohad Knoller), Lulu (Daniela Virtzer), and Yelli (Alon Friedman); and the Palestinian that joins them off and on - Ashraf (Yousef 'Joe' Sweid). There is sort of a Friends/Sex in the City thing going on (mostly gay), and they all just want the war to end so they can go on with their lives in peace. But, that's the rub. No matter how many posters you put up or how many raves for peace you have, the war is not going to end. Many have tried over the years to bring the two sides to the table, but they just want to keep it going for whatever reason. There are many on the Israeli side, both there and here in the US, who just want it all and will not consider peace. There are many on the Palestinian side who apparently would be out of a job should peace ever come. It is in no one's interest to end this war, and the children suffer. This is always on your mind as you watch this funny and engaging film. It won't go away. You know something tragic is going to happen and, of course, it does. With the feelings on both sides running strong, and revenge as the motivator, tragedy always happens, and that is what makes this an adult version of Friends/Sex in the City. There is no superficiality. It is real life, and it was a beautiful thing to see.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0380", "text": "Even in the 21st century, child-bearing is dangerous: women have miscarriages, and give birth prematurely. Seventy-five years ago, it was not uncommon for women to die during childbirth. That is the theme of \"Life Begins\": a look at the \"difficult cases\" ward of a maternity hospital. Loretta Young plays the lead, a woman brought here from prison (what crime she committed is not germane to the plot) to give birth; she's conflicted about the fact she's going to have to give her baby up after birth. She's in a ward with several other women, who share their joys and pain with each other. Although Loretta Young is the lead, the outstanding performance, as usual, is put in by Glenda Farrell. Farrell was one of Warner's \"B\" women in the 1930s, showing up quite a bit in supporting roles, and sometimes getting the lead in B movies (Farrell played Torchy Blane in several installments of the \"Torchy\" B-movie series.) Here, Farrell plays an expectant mother who doesn't want her children, since they'll only get in the way. She does everything she can to get in the way of the nurses, including smuggling liquor into the ward (this of course during the Prohibition days), and drinking like a fish -- apparently they'd never heard of fetal alcohol syndrome back in the 30s. Interestingly, unlike most movie of the early 1930s, it's not the women being bumbling idiots getting in the way of the heroic men -- that situation is reversed, with the expectant fathers being quivering mounds of jelly. (Watch for veteran character actor Frank McHugh as one of the expectant fathers.) \"Life Begins\", being an early talkie, treats the subject with a fair dollop of melodrama, to be sure, but it's quite a charming little movie. Turner Classic show it, albeit infrequently; I've only seen it show up on a few days honoring Loretta Young. But it's highly recommended viewing when it does show up.", "label": 1, "domain": "movie_review", "token_count": 432, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0381", "text": "This is such a fantastic movie, a Western about a self-concerned man (Jimmy Stewart) going up to the Klondike for gold. On the way, he gets hassled by a local sheriff in Alaska (John McIntire, giving a wonderfully evil performance), whom he hassles back. McIntire threatens that he'll be a dead man if he ever comes back through his town, which is, unfortunately, the only way back to the States. The main chunk of the story is about the peaceful Klondike town of Dawson being turned upside down by new residents from McIntire's town. Ruth Roman, for instance, who has come with Stewart and his two companions (Jay C. Flippen and Walter Brennen, who plays Stewart's best friend), builds a saloon (a Hollywood front for a whorehouse) and tries to run the town's restaurant and hang-out place out of business. She paves the way for McIntire and his goons to come up, too. In 1953, Jimmy Stewart and director Anthony Mann made one of the peaks of the Western genre, The Naked Spur. The Far Country is just the tiniest bit less, and it contains 99.9% of what made that film so special without, of course, feeling like a cheap copy. Like The Naked Spur, The Far Country boasts beautiful, on-location cinematography. The landscape is gorgeous. Stewart gives one of his best performances (nearly equal to his biggest success of 1954, Rear Window). I suppose it could be considered cliche, as he starts out a selfish loner and learns how that kind of existence plays out in the end. Still, Stewart plays it so damn well, he makes this character very human. And the supporting performances are universally fantastic. In addition to those I've mentioned, the adorable French actress Corinne Calvet is very good. And I ought to single out Walter Brennen, as well. He seems to have specialized in playing best friends. His relationship with Stewart is very touching, since he is, at first, the only character who is able to bring out any humanity in the cynical man. The screenplay is very well written, and Mann's direction is impeccable. A masterpiece. 10/10.", "label": 1, "domain": "movie_review", "token_count": 461, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0382", "text": "The movie is just plain fun....maybe more fun for those of us who were young and fans of \"The Ramones\" around the time the film was made. I've watched the film over and over, by myself and with friends, and it is still fresh and funny. At the risk of being too serious, the concept of being a big fan of a certain band is timeless, and high school students boredom with drudgery of some classes is just as timeless. And, the film has some gem lines/scenes.....references to how our \"permanent record\" in high school will follow us through life. (Let me assure you I've been out of high school for, uhhh, some years and it's not following me).....the famous \"static\" line (\"I'm getting some static\".....\"Not as much as you're going to get\", as Principal Togar approaches).....the school board member who is so decrepit he's attended by nurses....the Nazi Hall Monitors love for a \"body search\" ......Principal Togar announcing, \"I give you the final solution\", and burning the Ramones records (note: records were what came before CD's) ....and of course Joey Ramone noting, \"Things sure have changed since we got kicked out of high school\", followed by Togar asking \"Do your parents know you're Ramones?\" Just one piece of advice.....don't look up where the stars are now.....Joey Ramone sadly died young. Dey Young, who was a major hottie in the film, today reminds us we all age....PJ Soles career never advanced as we might have expected......... Marla Rosenfield, as one the other students, apparently appeared only in this film (one of my male friends dies over her every time we watch the film), though I submit her performance was more than adequate and should have brought her more teen film roles. And, does anyone know what happened to DJ Don Steele? So, watch and enjoy.....don't think....just have FUN!", "label": 1, "domain": "movie_review", "token_count": 417, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0383", "text": "This movie surprised me! Not ever having heard of Hyde of Gackt I was not expecting much! The reason I wanted to watch this movie was because somebody mentioned that the movie contained some serious action scenes in John Woo style! Normally I am very careful when this is claimed! There is only one John Woo and til this day there hasn't been one director that comes close to his brilliance when it comes to action! The fact that \"Moon Child\" would feature a vampire convinced me even more! How can you go wrong with gun blazing vampires! Sounds promising and interesting! The first thing I noticed about this movie that the pace was considerably slow! It takes it's time to set the mood! This movie contains some nice Hong Kong style action scenes! But \"Moon Child\" isn't an action movie! It is a drama about friendship and loyalty! The focus is on the characters and their relation to each other! The pop singers Hyde and Gackt do a good job in acting and are very believable as friends! The only problem I had was with the plot! A couple of times the movie seems to skip a few years without explaining what happened and why they had to skip! Example:When one member of the gang dies (very dramatic moment) Alexander Wang sees Kei (Hyde) drinking blood of one of the attackers! Without warning and explanation the movie skips 9 nine years and most of the friends aren't together anymore! Also without a proper reason given Son (Alexander Wang) and Sho (Gackt) have to kill each other! I know that this is done to add some serious drama! Because of the actors it is very effective but sometimes it does feel forced! Apart from the flaws in plot this movie has an ambiance and slickness that makes it hard not to like this movie! It is hard to explain why this movie is wonderful! But it just is! The overall experience you get is heartwarming and sincere!", "label": 1, "domain": "movie_review", "token_count": 393, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0384", "text": "It has only been a week since I saw my first John Waters film (Female Trouble), and I wasn't sure what to expect the second time around. While the previous film was outrageously over the top, Pecker is actually a funny film that satirizes the art critics in New York to a T. Anyone who cannot imagine what these \"Experts\" find so appealing about modern art, will enjoy seeing these pretentious snobs get so full of themselves over Pecker, a boy who just found a broken camera and starts shooting his friends and neighbors. Edward Furlong (Pet Sematary II, Terminator 2: Judgment Day) was surprisingly good as Pecker. There wasn't a lot of meat on any of the roles in this film, but he really shines. Christina Ricci (Prozac Nation) comes in with another great performance as Pecker's girlfriend. In fact, it was a banner year for Ricci (Buffalo '66, The Opposite of Sex, and Pecker. Lili Taylor, who had the only good role in The Haunting, was also a significant part of the film and really made it enjoyable. There are many funny scenes, but I have to say the best was when a crown gathers screaming, \"We want bush!\" \"We want bush!\" \"We want bush!\" I thought it was a Republican convention until I saw the police hauling off the dancer. I am going to have to look for more of Waters' work, especially Hairspray, now that that is in the news.", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0385", "text": "While to most people watching the movie, this will be of little interest, but out of the many hundreds of movies dealing with magic and the occult in one form or another, this one is probably the best in many ways. From The Golem to The Craft the subject seems to be of endless interest to the movie industry. The majority of movies which touch on it in any way do so childishly (for example \"Witchboard\", a true piece of utter garbage in every way) either taking the transcendental elements as cheap excuses for cheesy special effects or cardboard cutout villians (cf \"Warlock\"). More frequently the subject comes up in an hysterical religious context (in the various Revelations-oriented movies, the antichrist is inevitably an advocate of some kind of new-age style practice). Rarely, a movie seems to show at least some passing experience with magic as it is practiced in real life, but the presentation of the occult in such movies can at best be described as allegorical and not literal, or symbolic, or ... just not quite right. I watched this movie again after many years tonight. I had seen it before on VHS; it is a dark, moody piece, and after watching it on DVD, I would say if you have any intention to watch this movie, watch it on DVD, don't watch it on VHS. The darkness and moodiness are overpowering in VHS but in DVD the movie takes on a very different tone. I think Weir pushed the dark aspects intentionally for style, but when the movie is converted to the lower color medium of VHS this goes over the edge. DVD brings the movie to life again and I saw it differently. Anyway, seeing it as if for the first time, I realized that the treatment of magic is extremely good in this movie. It's difficult to go into all the reasons why, I don't care to take the time to do so. For anybody who's curious, anyway, if you want to see what it is like in real life, this movie is just very right on countless levels. And for anybody who isn't, you really wasted a lot of time reading to this point.", "label": 1, "domain": "movie_review", "token_count": 442, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0386", "text": "Whoever said that horror wasn't an educational film genre, huh? Thanks to this marvelous Hammer short movie, I now at least know NEVER to offer a strange visitor any wine and a slice of bread with salt in my own house, because he might just be hypnotist and this combination will give him the power to control my thoughts & mind forever! Thank you Hammer! The tenth episode in the House of Horror series is another one I've been looking forward to seeing, mainly because the guy in the director's chair was Don Sharp; one of Britain's finest filmmakers but still sadly underrated. Sharp was responsible for some very cool Hammer films, like \"Kiss of the Vampire\" and \"Rasputin: The Mad Monk\", as well as some overlooked independent productions like \"Dark Places\" and \"Psychomania\". His contribution to House of Horror is easily one of the best in the series, with a complex yet fascinating plot outline and revolving on delightful occult themes. The plot centers on two antique dealers that stumble upon a strange object resembling a mirror, but it's actually an ancient scrying device that can be used to summon Choronzhon; the demonic guardian of the abyss. The mirror is heavily desired by a satanic cult since they need it for their ceremonies, but Michael is reluctant to sell it before knowing the real value of the device. When he picks up a clearly petrified girl who's running from the cult to avoid being sacrificed, Michael is drawn even deeper into an occult conspiracy. Satanic cults and the carnal sacrifice of young women are typical British horror topics, but David Fischer's screenplay is never dull and offers plenty of neat plot twits, among which a highly inventive climax. There's also plenty of tension to admire, the dialogs are wit and the acting performances are splendid (especially John Carson as the leader of the cult is genuinely eerie). Recommended!", "label": 1, "domain": "movie_review", "token_count": 381, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0387", "text": "Steven Spielberg wanted to win an Oscar so bad that he figured that he wouldn't win by directing special effects epics (he was nominated for three of them: \"Close Encounters of the Third Kind\", \"Raiders of the Lost Ark\", and \"E.T.: The Extra-Terrestrial\". So he decided to get very serious by directing \"The Color Purple\", a period film with no special effects. Spielberg's first serious drama is a remarkable movie. But the Academy voters who voted back in 1985 still didn't give Spielberg any respect. \"The Color Purple\" received 11 Oscar nominations including Best Picture, but Spielberg was unfairly snubbed when he wasn't nominated for Best Director. It got worse on Oscar night when this film didn't win a single Oscar. It got completely shut out. That wasn't right. \"The Color Purple\" should have won a couple of Oscars including one for Whoopi Goldberg's spectacular film debut as Celie, a woman who suffers at the hands of an abusive husband (frightfully placed by Danny Glover), then gets stronger throughout the film thanks to some special friends. Oprah Winfrey also made her film debut here and gives a great performance as Sofia, one of those friends' of Celie. Since I'm from Chicago, I had already known Winfrey from her talk show (which at the time of this films' release hadn't gone nationwide). Like Goldberg, what a film debut! Margaret Avery is terrific as Shug Avery, another friend who also happens to be the mistress of Celie's rotten husband. All three actresses received well-deserved Oscar nominations for their work here (Goldberg for Best Actress; Winfrey and Avery for Best Supporting Actress). Set in the south during the first half of the 20th Century, \"The Color Purple\" is a film so strong that it made me cry at the end. It also made me laugh at times too. Why Academy voters were so hard on not nominating Spielberg for Best Director is a mystery that still puzzles me today. But Spielberg would eventully go on to win two Oscars years later for \"Schindler's List\" and \"Saving Private Ryan\", making him one of the best movie directors of all-time. But he should have gotten nominated for this movie. The job that he did going from special effects blockbusters like \"E.T.\" to a serious drama like \"The Color Purple\" was remarkable. **** (out of four)", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0388", "text": "At least for a half hour a week. I haven't been interested in anything on the big 3 networks (ABC/CBS/NBC) in years. All of the lions are interesting, although Larry can get annoying at times. I really like the Middle earth action figures they bring in with Hunter. Most of the other characters are interesting as well. The sideshow of Siegfried and Roy is entertaining at times, too. The animation is top notch, and definitely the best CG that has been done on a weekly TV show. Usually when they hire big names to star in a show, they're trying to hide a poor script or characters. Not entirely true in this show though, There's a couple characters that were weak and improved by the voice acting, but overall the characters stand on their own. This is definitely for 16 and up. There's nothing here that most kids haven't already heard before though, and most of the jokes would probably just fly right over their heads. It's definitely not as crude and edgy as South Park, but does bring some of the same \"Bash everyone\" feel to it. One example is that it makes fun of both Dick Cheney and Barbara Streisand at the same time in one episode. Father of the Pride and other Dreamworks productions like Shrek also feel like the spiritual successors of Animaniacs, Pinky and the Brain, and Freakazoid. It's the same type of humor grown up. It may not be as witty as Spielberg's classic TV series, but it's still good. I hope that it finishes this season off well, and is renewed for future seasons. Otherwise I may never find a reason to watch the big 3 again.", "label": 1, "domain": "movie_review", "token_count": 348, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0389", "text": "The late Dudley Moore had the most famous role of his too-short career in 1981's ARTHUR, a raucously funny and alternately touching tale that generates warm smiles, big belly-laughs, and an occasional tear if you're in the right mood. Moore received a Best Actor Oscar nomination for his performance as Arthur Bach, a drunken playboy who \"races cars, plays tennis, fondles women, but he has weekends off and he's his own boss.\" Arthur is destined to inherit 750 million dollars when he marries a snooty society girl named Susan Johnston (Jill Eikenberry)who is the spoiled daughter of an undercover gangster. Things get sticky when Arthur meets Linda Morolla (Liza Minnelli) a waitress/struggling actress from Queens who steals neckties for her father's birthday. Moore lights up the screen in one of the single funniest performances of the last 50 years. The late Sir John Gielgud won a Best Supporting Actor Oscar for his flawless turn as Arthur's acid-tongued butler and best friend, Hobson, whose outward disdain for Arthur's behavior covers more paternal feelings. There are other funny contributions by Barney Martin as Linda's father. Stephen Elliott as Susan's father, and Geraldine Fitzgerald as Arthur's demented grandmother. The film was directed with a keen eye for comedy by a first time director named Steve Gordon, who, sadly, died the following the year. There was also a forgettable sequel several years later, but this instant classic is not to be missed.", "label": 1, "domain": "movie_review", "token_count": 321, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0390", "text": "Antwone Fisher's story of childhood neglect and abuse is an inspiration to all among us who witnessed or even experienced the plight of foster children. Abandoned by a troubled mother, Antwone has never met his father. Growing up with \"church going\" abusers who use the \"n-word\" not only to intimidate and hurt but also as a term of endearment, as a young man witnessing how his best friend is killed in a hold-up, enduring racial slurs and being teased while serving in the Navy, Antwone's anger is slowly turned into positive power when counseled by a Navy psychiatrist, and a love enters his life. The scene where Antwone meets his birth mother is one of the most powerful moments in the film. Stunned by the unexpected confrontation, the woman listens in silence to hear the young man tell her how he has lived a life without crime, addictions to drugs, fathering children left and right, all despite his utterly adverse circumstances. If that scene wasn't powerful enough, the very next one drives it home (and opens the flood gates): A reception to welcome home Antwone; dozens of smiling faces and open arms announcing that HE is part of this great family. One of the messages delivered by this wonderful film is that there are many well-meaning and sincere people working to help orphans and unwanted children. Even if some of the homes and administrators don't seem to care and appear self-serving, many do give it their all. The character who found Antwone's \"file\" once he disclosed the circumstances of his birth is one of those \"bright lights\" in the darkness of the system. The DVD includes a French Language track, various subtitle choices, as well as additional features and information about foster parenting. As a Clevelander I appreciated the location footage. No matter where you are from, you will be deeply moved by this autobiographical gem.", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0391", "text": "Elia Kazan, one of the best theater directors this country ever had, showed he was equally at home with movies. With \"Panic in the Streets\", Mr. Kazan gives us an early version of what would come later, with perhaps his master piece, \"On the Waterfront\", although both movies share only the water setting, for they are different visions about different subjects. Mr. Kazan shot on location in New Orleans. The adaptation by Daniel Fuchs of the Edna and Edward Anhalt stories that are the basis of the film, is remarkable in that it takes us to places that no tourist dared to see when visiting \"The Big Easy\". One of the big assets of this film is the magnificent black and white cinematography by Joseph MacDonald that shows New Orleans at its best. Also the music by Alfred Newman and the song by Billie Holiday gives the proceedings a nice touch. This film, could have been shot in New York, or another Northern big city because it presents us with characters that speak more like \"broklynese\" than maybe a Southern accent one might hear in that part of the country. One thing comes clear in the movie, Jack Palance, making his screen debut, smolders the screen every time one sees him. He was so intense! At the same time, this tough guy shows a tender side of him when he goes to see his sick partner, who unknown to him, is stricken with a fatal disease. Blackie, comforts this man caressing his sweaty face and running his hands through the dying man's greasy hair with abandon. Notable also, was the fact that Mr. Palance and Mr. Mostel appear to have been doing their own stunts, something so refreshing because both actors make it seem real. The film also presents a normal side with the introduction of the Reed family at the beginning of the film. We see a family man painting furniture with his young son. Later he and the wife discuss how it appears they can't make ends meet with his salary, something that many families have to deal with on a daily basis. Richard Widmark, playing a normal person is not as effective as when this actor plays more cunning and intense people. Barbara Bel Geddes, as the wife, sounds as though she's a suburban woman from Connecticut. The film is enjoyable thanks to Mr. Kazan's direction and the excellent cast working in the movie.", "label": 1, "domain": "movie_review", "token_count": 489, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0392", "text": "Sharp, well-made documentary focusing on Mardi Gras beads. I have always liked this approach to film-making - communicate ideas about a larger, more complex, and often inscrutable phenomenon by breaking the issue down into something familiar and close to home. I am sure most people have heard stories about sweatshops and understand the basic motives behind profit and capitalism, and globalism's effect on poorer nations (however people feel about it). Rather than expound on these subjects and get up on a soapbox (not that there's anything wrong with that, other than such documentaries typically preach to the converted), this documentary simply shows Mardi Gras beads, how they are manufactured, by what people, and under what conditions, and then how they are utilized by consumers at the end of the process. It openly and starkly investigates the motivations of everyone involved in the process, including workers, factory management, American importers, and finally, the consumer at the end of the chain. I felt a little sickened by this; equally by the Mardi Gras revelers, but also by the way the workers in China have accepted their situation as normal and par for the course (even if they have some objections to the details of how they are managed). The footage of the street sweepers cleaning up the beads off the streets at the end, made a particular impression. But that was just my reaction; I can see how someone else might read this documentary a little differently. Unlike other documentaries on this subject, I don't think you have to have any specific political opinion to be affected by this. This is ultimately a story about human beings and our relation to the goods we produce and consume. If you have ever bought a product made in the Far East, this should give you something to think about. Outstanding and highly recommended. Need to see more documentaries like this. Kudos to all of those involved in the making of this film.", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0393", "text": "Dear Readers, The final battle between the Rebellion and Empire. The Second Death Star is nearing completion and when it is completed it will spell doom for the Rebel Alliance. Luke Skywalker, now a Jedi knight, returns from Tatooine with Han Solo and Princess Leia, now revealed as Luke's twin sister! They agree to lead the attack on the Shield generator on the Forest moon of Endor while Lando Calrissian leads the attack on the Death Star. Little do they know that a most ingenious trap has been laid for them and the Emperor Palpatine himself is personally overseeing the construction of the Second Death Star. Return of the Jedi is my favorite of the Original Trilogy. It's got action, drama, romance, great battles, fantastic Acting, amazing fight scenes, and awesome music by John Williams. Mark Hamill is fully matured now into a Jedi Knight, gone is the naive farm-boy and in his place is a calm, relaxed Jedi determined to save the galaxy. Leia is still cool in this film as well as Han and Lando. 3P0, R2, and Chewie do their roles to a T while James Earl Jones still is cinema's greatest villain: Darth Vader. Ian McDiarmid is also an excellent villain as the twisted and brutally ruthless Emperor Palpatine. The Action sequences of this movie are breathtakingly amazing and the sword fights are serious and gritty. John Williams's score is still cool and enhances the film by several levels. Signed, The Constant DVD Collector", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0394", "text": "On October of 1945, the American German descendant Leopold Kessler (Jean-Marc Barr) arrives in a post-war Frankfurt and his bitter Uncle Kessler (Ernst-Hugo Järegård) gets a job for him in the Zentropa train line as a sleeping car conductor. While traveling in the train learning his profession, he sees the destructed occupied Germany and meets Katharina Hartmann (Barbara Sukowa), the daughter of the former powerful entrepreneur of transport business and owner of Zentropa, Max Hartmann (Jørgen Reenberg). Leopold stays neutral between the allied forces and the Germans, and becomes aware that there is a terrorist group called \"Werewolves\" killing the sympathizers of the allied and conducting subversive actions against the allied forces. He falls in love for Katharina, and sooner she discloses that she was a \"Werewolf\". When Max commits suicide, Leopold is also pressed by the \"Werewolves\" and need to take a position and a decision. \"Europa\" is an impressive and anguishing Kafkanian story of the great Danish director Lars von Trier. Using an expressionist style that recalls Fritz Lang and alternating a magnificent black & white cinematography with some colored details, this movie discloses a difficult period of Germany and some of the problems this great nation had to face after being defeated in the war. Very impressive the action of the occupation forces destroying resources that could permit a faster reconstruction of a destroyed country, and the corruption with the Jew that should identify Max. Jean-Marc Barr has an stunning performance in the role of man that wants to stay neutral but is manipulated everywhere by everybody. The hypnotic narration of Max Von Sydow is another touch of class in this awarded film. My vote is nine. Title (Brazil): \"Europa\"", "label": 1, "domain": "movie_review", "token_count": 381, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0395", "text": "\"Cinderella\" is one of the most beloved of all Disney classics. And it really deserves its status. Based on the classic fairy-tale as told by Charles Perrault, the film follows the trials and tribulations of Cinderella, a good girl who is mistreated by her evil stepmother and equally unlikable stepsisters. When a royal ball is held and all eligible young women are invited (read: the King wants to get the Prince to marry), Cinderella is left at home whilst her stepmother takes her awful daughters with her. But there is a Fairy Godmother on hand... The story of \"Cinderella\" on its own wouldn't be able to pad out a feature, so whilst generally staying true to the story otherwise, the fairly incidental characters of the animals whom the Fairy Godmother uses to help get the title character to the ball become Cinderella's true sidekicks. The mice Jaq and Gus are the main sidekicks, and their own nemesis being the stepmother's cat Lucifer. Their antics intertwine generally with the main fairy-tale plot, and are for the most part wonderful. Admittedly, the film does slow down a bit between the main introduction of the characters and shortly before the stepsisters depart for the ball, but after this slowdown, the film really gets going again and surprisingly (since \"Cinderella\" is the most worn down story of all time, probably) ends up as one of the most involving Disney stories. The animation and art direction is lovely. All of the legendary Nine Old Men animated on this picture, and Mary Blair's colour styling and concept art (she also did concept art and colour styling for \"Alice in Wonderland\", \"Peter Pan\", \"The Three Caballeros\" and many many others) manage to wiggle their way on screen. The colours and designs are lovely, especially in the Fairy Godmother and ball scenes, as well as in those pretty little moments here and there. Overall, \"Cinderella\" ranks as one of the best Disney fairy-tales and comes recommended to young and all that embodies the Disney philosophy that dreams really can come true.", "label": 1, "domain": "movie_review", "token_count": 436, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0396", "text": "yeah right. Sammo Hung already acted in the main role in 1983's \"Zu Warrios from the Magic Mountain\". Now, 2001, he does it again with \"Zu Warriors\". But this time, he finally does it right. You seldom see him in wuxia, more often in classic eastern or crime slapstick. But this role simply does fit him! The ancient Chinese legend about zu mountain is not often represented in movies (as far as I know about movies translated for the west). Although, the legend contains a vast of interesting stories and possibilities. Straight said: you haven't seen a story alike yet in a modern movie! And that makes it so great! And wow: all the colors plus the enormously deep, right-into-the-heart going story makes you fall for this movie in an instant. The first time I watched it, I had to watch it again instantly, and I did. OK true, I didn't understand all of it the first time. But that makes it only better! You know, you didn't understand all of it, because there is so much spice in it! Therefor it is a pleasure for one self to watch it over and over again. And yeah, it grows deeper in your heart, the more often you watch it. Summary: A story to love, characters you cry with, and truly: a movie you never forget! -- Editors note: well, I think I must watch it right now again :D", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0397", "text": "From the upper shelf of great Classic Books, comes this masterful story written by Pearl Buck. The book like the movie is called \" The Good Earth.\" It relates the story of Wang Lung (Paul Muni) a simple Chinese farmer who begins his day with a trip to the 'Great House' where he has taken a slave woman called O-lan (Luise Rainer) and made her his wife. Almost from the beginning, she begins to adapt to his kindness by saving a small peach seed and planting it near her new home. During the following years, O-Lan proves her worth by steadfastly sharing her husband's toil, troubles and changing fortunes. Through the passing years, they raise a family and watch their simple household weather both feast and famine. Indeed, it's at the lowest point in their lives that each discovers the value of companionship, loyalty and Love. With the changing times, their growing family is both aided and threatened with friends and relatives, like their Uncle (Walter Connolly) who is a scoundrel and charlatan, but is compassionately tolerated. Wang has his 'Old Father' (Charley Grapewin) to advise and remind him of life's fragile and fickle nature. Two notable actors who make impressive appearances in this film are Keye Luke who plays Wang's Elder Son and Phillip Ahn who plays a Nationalist soldier. The film is in Black and White and is wonderfully adapted from the novel. Highly recommended for all audiences. ****", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0398", "text": "The film transported everyone back to October 20, 1944 where we seemed to be part of the great Philippine 'I Shall Return' landing scene It was on that Leyte shore where General MacArthur reaped his fame Above all, Gregory Peck triumphed in his portrayal of the great general It is the stride, the set of the shoulders, the intensity It's what both men have had in common: intensity, total absorption, devotion With MacArthur it was for the military With Peck it was for the challenge of acting An Academy Award winner for \"To Kill a Mockinbird\", an Oscar nominee for \"Keys to the Kingdom\", \"The Yearling\", \"Gentleman's Agreement\", and \"Twelve O'Clock High\"—he has played everything from an apparently homicidal amnesiac to a crusading journalist; from a troubled gunfighter to an obsessed attorney; from biblical David to Captain Horatio Hornblower He has brought to them all his own unique insight, his character, his sincerity, warmth and love, and especially, his humor There is a scene where 'MacArthur' stands on deck with the 'President of the Philippines.' We can hear the dialogue: \"General, I hope the water isn't too deep,\" says the 'President,' \"because my people will find out I can't swim.\" Then come Peck's sonorous voice: \"And my people are going to find that I can't walk on water!\" As \"MacArthur,\" Peck once again justified his reputation as a giant in the film industry Through him we felt MacArthur's emotions: we knew his anger, his happiness and we understood the relationship with his whole family", "label": 1, "domain": "movie_review", "token_count": 341, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0399", "text": "I saw this film at a time when I was timidly toying with the idea of moving into my own apartment and starting life on my own. Maybe that is the reason why I took it so seriously. I believed totally in the poor character's psychological degradation inside a Paris of perpetual construction sites, dust, squalor, selfishness, rudeness, malice and decay. I'm giving all the credit to Polanski's artistry in his direction, his playing and his inescapable script but I fainted during the horrible final scene and had to be revived by cognac in the office of the theatre's manager. Luckily for me, my life on my own didn't turn out as disastrous as this (so far) but I have always kept a great respect for an artist who can perform such illusions and so totally immerse himself in the (fake) reality he is trying to convey. Simply put, the man is a genius of the first order and a credit to the human race. This film is the sum of many, many instances of great acting and great casting. As some performances were done in English (the scenes with Shelley Winters and Melvyn Douglas among others) and others in French (with most other characters) and Polanski did his own dubbing in English and French, I heartily recommend, if you happen to be bilingual, to switch the audio from French to English and vice-versa, during the appropriate scenes while watching the magnificent transfer on Paramount DVD. This film is part of Polanski's so-called \"apartment building trilogy\" which also comprises \"Repulsion\" and \"Rosemary's Baby\". Unfortunately, \"Repulsion\" still hasn't made it to a decent DVD transfer in Region 1. Needless to say, the three films would make a magnificent boxset.", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0400", "text": "This is on my top list of all-time favourite films! It is a fantastic and insightful film. It was Historically interesting and great to watch! I thought the acting from Emily Blunt was fantastic and Rupert Friend was a fantastic Albert, the best actor was chosen for Albert. The costumes were gorgeous and the settings and scenes such as the opera house, were amazing and detailed. I just loved it, all of it! I loved the childhood scenes were she's getting 'bullied' by John Conroy. And where her mother says she has to walk stairs with an adult. One again the writers have done it! They produced this fantastic script! It thoroughly deserves the awards they got. (Oscar and BAFTA wining Sandy Powell, for costume design. A BAFTA for best make-up and hair, an Oscar in Best Achievement in Art Direction, Best Achievement in Costume Design, Best Achievement in Makeup. Broadcast Film Critics Association Awards for Best costume design, also nominated for best actress Emily Blunt. CDG for Excellence in Costume Design for Film - Period. Hampton's International Film Awards for an Audience Award for Best Narrative Film. PFCS for Best Costume design.Sudbury Cinefest, doesn't say what for. VFCC for Best Actress, Emily Blunt.) Overall 10 wins and 11 nominations! That pretty good! http://www.imdb.com/title/tt0962736/awards Have a look yourself, its really interesting! Personally Rupert Friend should have got an award.", "label": 1, "domain": "movie_review", "token_count": 304, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0401", "text": "I imagine Victorian literature slowly sinking into the mire of the increasingly distant past, pulled down by the weight of its under-skirts. Along comes television: at its best, it has a redemptive power, and with dramatisations like those the BBC produce so finely, Victorian literature gets a new stab at life. The religious themes, the moral overtones, may be increasingly ill at ease in a world no longer easily shocked, and acquainted with cohabitation, affairs and domestic violence. But those old, well-told stories have enduring power, and this is one's a hidden gem. It's hard to gauge today just how forceful, feminist and extraordinary Ann Bronte's masterpiece, \"The Tenant of Wildfell Hall\", actually was. Emerging from the primeval slime of restrictive corsets – bodily, mental, societal – her heroine, Helen Huntingdon, escapes a miserable marriage, flees brutality and alcoholism, braves not only her abusive husband's fury, but society's pinched intolerance and malicious gossip, to wreak change in her life. She pays a price; but retains her self-respect; she falls in love along the way; she emerges battered but victorious, and strong. I just love watching women like these on screen. The actors are superb – the best Brits have to offer. The love story is beautifully handled, with real passion and feeling by well-matched actors. Tara Fitzgerald inhabits every aspect of the complicated heroine, and as has been said here by other reviewers, no less sharply defined and beautiful a face could survive that petrifying hairstyle. Toby Stephens, striking sparks off her, contributes just the right combination of headstrong, handsome youth and passionate, yearning vulnerability. Rupert Graves (one of my favourite British actors ever) enjoys himself as the charismatic villain (so much so that you're almost with him at the end. No one's perfect). The supporting cast ably create a world into which you sink without feeling that coarse compromises have been made to modern tastes, and without having felt preached to. Another BBC classic, highly recommended: this is how romantic literature should be dramatised.", "label": 1, "domain": "movie_review", "token_count": 436, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0402", "text": "The 100 black and white half-hour episodes of the early situation comedy \"Mr. Peepers\" were originally broadcast from 1952-55 on NBC. Like a lot of baby boomers this and \"Ding Dong School\" are my earliest memories of television. Since both ran later in syndication it is hard to tell how many of these memories are actually tied to the original broadcasts. \"Mr. Peepers\" is worth checking out for more than its nostalgia value. It represents a very different style of situation comedy than shows like \"The Honeymooners\" and \"I Love Lucy\". The genre could have gone in two different directions in those days and ended up taking the loud abrasive path of those two shows; which is probably why they still seem contemporary. \"Mr. Peepers\", which was differentiated by its intelligent restrained tone, may appear slow and dull in comparison. But it's really more a matter of adjusting to the different style. Once you get into the characters it will win over most intelligent viewers. Credit should be give to the show's producer, Fred Coe, a key figure in early television whose dramatic anthologies are also worth checking out (\"Philco Television Playhouse\", \"Lights Out\", \"Playhouse 90\", \"Producers Showcase\", \"Playwrights 56\", \"Fireside Theatre\", etc.) even on kinescope. \"Mr. Peepers\" offered a much more gentle style with Wally Cox (to be the voice of \"Underdog\" a few years later) in the title role, Robinson Peepers, a mild-mannered high school science teacher. His glasses were his trademark and a symbolic link to his name and role as a passive observer. The series provided Cox with an outstanding supporting cast. Tony Randall played his brash best friend, history teacher Harvey Weskit. Jack Warden played Frank Whip, the loud gym teacher whose mild bullying gave the show most of its conflict elements. There is some love interest competition involving the school's nurse, Nancy Remington (Patricia Benoit), with viewers quickly aligning with Mr. Peepers who seems a much better match for the gentle Nancy. Their on-screen marriage near the end 1953-54 season captured national attention, an early version of the \"Who Shot J.R.?\" frenzy. Then again, what do I know? I'm only a child.", "label": 1, "domain": "movie_review", "token_count": 488, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0403", "text": "Probably one of the prime examples of following a suspenseful, dramatic episode (in this case, the superb Balance of Terror) with a lighter affair, Shore Leave is the first true attempt on behalf of the Star Trek writers to produce a more entertaining piece of sci-fi, and while the formula isn't quite right yet in this entry (the true triumph is Trouble with Tribbles, in Season 2), the laughs come pretty fast as long as the viewer is willing to allow for all the silliness. Diverting from the show's tradition, the Enterprise isn't on any proper mission in this episode. Instead, Kirk has found a perfect planet for his crew to spend some time off duty: a well deserved break after three months of incessant work. The Earth-like planet (a budget-related fact) is very appealing, but it only takes a few minutes before something weird happens: Dr. McCoy starts having visions of a white rabbit that seems to come straight out of Lewis Carroll's work. Soon, other people begin experiencing similar things: a woman meets a Don Juan-like character, Sulu has a run-in with a samurai, and Kirk faces a double encounter with the past, in the shape of almost love and the guy who used to pick on him at the Academy. Throw in a freakishly real-looking tiger, and it's easy to see why Kirk and Spock are determined to figure out what's going on before anybody gets hurt. The idea is a classic one: idyllic place turns out to be far from heavenly. The episode's humorous take on the topic is rather successful, weren't it for a dark turn of events that doesn't sit well with the rest (of course, everything works out fine again come the end) and the cast's general unwillingness to show a funnier side of themselves (most notably, and ironically, the otherwise hilarious William Shatner). And yet Shore Leave deserves recognition for being another good example of the writers trying new, previously unseen things: the definition of Star Trek's success. 7,5/10", "label": 1, "domain": "movie_review", "token_count": 418, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0404", "text": "Once I watched The Tenant and interpreted it as a horror movie. It uses many of the tropes of the genre: the sinister apartment, suspicious neighbors, apparitions, mysteries, hallucinations. The life of the hero, Trelkovsky, seemed surrounded by evil, secret forces trying to drive him mad. Last time I watched it I challenged this initial interpretation. If this movie is a horror movie, it's only horror in the sense that a Kafka novel is horror. In fact this movie can be understood on a literal level as a lonely man slowly becoming crazy without any external influence. Polanski made in his career three movies dealing with madness: Repulsion, which I don't particularly like because the development of madness in the heroine never convinced me; Rosemary's Baby, in which the heroine is driven mad by evil forces; and The Tenant, which might be the best study of paranoia ever made in cinema. Trelkovsky is a young man who rents an apartment in which a woman killed herself. He becomes obsessed with her and slowly starts becoming her: he wears her clothes, puts on makeup, talks like her. But is he being possessed by a spirit, or is he just letting his wild imagination get the best of him? It's this hesitation between what is real and imaginary, and which Polanski never resolves, that makes this such a fascinating movie. Many events in the movie can be attributed to the supernatural as easily as they can be to normal causes, and it's up to the viewer to decide what to believe in. Although this is not my favorite Polanski movie, it is nevertheless a good example of his ability to create suspense and portray madness in very convincing terms. And technically speaking, it's a marvel too. Suffice to say he collaborates with film composer Philippe Sarde and legendary director of photography Sven Nykvist (Bergman's DP) in the making of this movie. A slow pacing and sometimes uninteresting segments may make this movie difficult to enjoy, but it's an experience nevertheless.", "label": 1, "domain": "movie_review", "token_count": 415, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0405", "text": "I just finished watching this movie and I must say that I was so impressed.Everything about it was superb. The acting the characters, the story. A believable child who grew into brave, always willing to help others. His mum must be proud. I could not take my eyes off this film for fear of missing something. It is the prefect fable/tale with morals, cute and scary sprites and 'monsters' but nevertheless heartwarming folk. A child poked and bullied at school who becomes a hero. Picked to be a rider at the local village festival and a journey to the Goblin Mountain where he discovers the Yokai, who are amazing creations that Brian Froud would be proud of. And the evil Kato and his off sider who definitely needed a hug. These evil people capture the Yokai and throw them into a red pit along with unwanted objects, like motorbikes and other mechanical things and these meld into one horribly violent robotic monsters whose only job is to kill. Takashi a young boy is the one to become their saviour, alongside a red man/dragon a turtle man and a River Princess as well as a cute little creature that, if it had been America they could have turned it into a cuddly toy and sold it at all good toy stores. The lines are good especially the Don't try this at home kids and other gems that bring a smile to your lips. Suspend belief and watch this with a child or on your own and enjoy! Though I must admit that the end was a wee bit sad. And not necessarily so. Cheers Furdion", "label": 1, "domain": "movie_review", "token_count": 324, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0406", "text": "I saw this movie when I was about 8-years-old and I liked it but it wasn't until I watched it again at the age of 13 that I really understood it for what it is; a cartoon about a criminal dog with a real heart of gold \"adopts\" a little girl in order to exploit her for her talents to talk to animals. The dog star,Charlie B. Barkin, is murdered by his formal business partner, Carface, (who is absolutely diabolical by the way). His soul then goes to where else but Heaven only to find a golden watch that is really his life's time, which Charlie, being the sneaky but lovable cad that he is steals and rewinds, sending him back to Earth. Once back on Earth, Charlie goes about seeking revenge on the evil Carface. This is how he comes upon young Anne-Marie, the lonely little orphan that can talk to animals whom Charlie plans to scam for her talents in order to get back at his enemy Carface. But scoundrel Charlie actually comes to care for young Anne-Marie and his plans unfoil as he must make up his mind to do what is right after Anne-Marie discovers what her \"best friend\" Charlie has really been using her to make money for a new and better dog casino. Now he must rescue her from the dreaded Carface. I still love this movie even at the age of 22. The idea and plot really are quite different and original from that of many other animated films. I especially like the idea that a dog plays the role of the villain for once. Carface was even better than he was in the All Dogs go to Heaven sequel. In that picture he appeared quite dubious to his role of villain.", "label": 1, "domain": "movie_review", "token_count": 356, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0407", "text": "This is a brilliant sci-fi movie that is very strange in how men and women both view the same film. I have talked to many people about the film and almost every guy loved it and said it was brilliant--while most women thought it was just disgusting and stupid! This is the only movie I know of that has such polarized views based on gender. Perhaps many women just have a lower tolerance for disgusting or depressing plots--but whatever the cause, I have always found this difference fascinating. The film begins with a murder and a subsequent investigation headed by Charlton Heston. This is set in the near future and the head of the huge international Soylent Corporation has been assassinated. As the film unfolds, you quickly realize this is a terrible and highly inequitable future American society. The rich live in gorgeous apartments with security and all the pleasures money can buy(including \"furniture\"--a euphemism for paid mistresses that come along with the apartment). At the same time, the masses are dirt poor, unemployed and in many cases living in abandoned cars or apartment hallways. Overpopulation and smog have taken a severe toll and the future looks awful indeed! Why the rich man died and the awful truth he could not live with I really should NOT discuss--it could ruin the film for you. However, the film has a great plot and acting and is super-exciting to watch. Plus, it features Edward G. Robinson in his final screen performance as the crusty sidekick to Heston. Though not for the easily depressed or squeamish, this is a great sci-fi film that is allegorical and profound.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0408", "text": "Gere and Danes star as 2 workers for the department of public safety who keep track of released sex offenders. Gere, who plays Babbage, refers to them as his flock. Gere is an over obsessed vigilante whom is on his way out. He is training, new comer Allison, to take over his job. Gere sees his flock as very sick, disturbed puppies. He asks them questions that are not on the list, and tries to act like the police and solve crimes. He keeps getting warned for this behavior, hence the reason he is being replaced. During his final few days on the job, a young girl goes missing, and Babbage is sure it is one of his flock whom has gone astray. Him and Allison narrow a list down and discover some of the offenders have gone AWOL. So, he decides that he needs to track the missing girl down rather than help the police. That part is a little far fetched. There is some sick, twisted stuff shown in this film. Like when Babbage and Allison go to this building where a bunch of sick people do disturbing things to each other. Also, there are the people who kidnapped the girl. At the end of the film, we see what sick freaks they are. However, I wouldn't call this movie excessive because not really much is shown on film. FINAL VERDICT: If you like thrillers and films about serial killers and cops chasing killers, then you will like this.", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0409", "text": "I rented this film from Netflix for two reasons - I was in the mood for what I thought would be a silly '50s sci-fi-asco and because it is the first feature-length Superman film. Needless to say, after about 15 minutes I found myself thoroughly engaged and very pleasantly surprised. An experimental oil well has penetrated about six miles into the earth and is being shut down by the sponsor. Lois and Clark show up to get the scoop but are disappointed that the deepest well ever drilled will no longer be in operation. A day later, strange events at the well make for a story more appropriate for Superman than Clark Kent. It seems that the radioactive Mole Men have invaded from their six-mile deep home near the earth's core. Supermen and the Mole Men is a simplistic but well-made piece of social realism. Released in 1951, starring a lead actor who served in World War II, the moral of the story seems to be that Americans are just as capable of becoming fascists as anybody else. To drive this point home in a typically straightforward Superman manner, Reeves even accuses the lynch mob hunting the Mole Men of being 'Nazis' at one point. Even in the 1950s, the science underlying this film was nonexistent. Six miles of drilling through continental crust would not have even penetrated the upper mantle, let alone the \"hollow center of the earth\" - which, in any case does not exist. Forgivable - keep in mind that this film is based on a golden age comic book. The film is a little unevenly paced. Although the Molemen are interesting, a bit creepy, and nicely portrayed, there are several Corman-esquire scenes which spend too much time redundantly showing us their odd behavior. The script is intelligent and economical. By today's standards, the costuming is poor to fair, but for its time, this film's special effects and costuming were quite good. The cinematography is also generally very good, and the acting is much better than one might expect. I was particularly impressed with Reeves, Jeff Corey and Walter Reed.", "label": 1, "domain": "movie_review", "token_count": 427, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0410", "text": "When I took my seat in the cinema I was in a cool mood and didn't plan on changing it. But this movie is a dramatic powerhouse. I was all in sweat and needed a shower afterward. So what have we? Theoretically a coming of age story of a teenage Turkish girl living in Copenhagen, Denmark. It came to my mind soon that the plot seemed pretty much completely borrowed from \"Bend it like Beckham\", where we had an Indian girl playing football and spoiling the wedding of her sister. Here we have it transferred to a Turkish girl spoiling her brother's wedding by doing Kung Fu. And we have a love story and a competition of course, too. After I accepted this, this really turned out to be a gripping, emotional drama and it shows off some beautiful Kung Fu (I'm not an expert, though). The lead actress Semra Turan is not only Denmark's female champion but she also delivers an excellent performance, so that it appears to be safe to assume that we have quite some autobiographic impressions here taking into account that this is her first movie and that she has no education as an actress. Rest of the supporting cast is okay, camera good, Kung Fu intense. Sidenotes: - The male Turkish audience showed respect so that they must have done something right. - The audience burst into cheers when our heroine finally fought back and attacked the boys who were gravely beating up her brother in revenge. - Xian Gao, a Chinese cinematic Kung Fu instructor/actor (Hidden Tiger, Crouching Dragon) played the lead role's master If you get the chance to see this in cinema do it, you'll probably have a good and intense experience and I don't know if this works on small screen as well", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0411", "text": "Story about four teenage girls growing up in California. Jeanie (Jodie Foster) is the most level-headed of the bunch--but wants to move out of her house where she lives with her divorced mother (Sally Kellerman). Annie (Cherie Currie) is addicted to drugs, alcohol and bad boys and is beaten up by her father. Madge (Marilyn Kagan) has overprotective parents. Deirde (Kandice Stroh) thinks she's more mature than the rest of them. This is nothing new from what we've seen plenty of times before--but this one has one big difference--it's accurate. I graduated from high school in 1980 (when I first saw the film) and I was surprised at how realistic it was. They got the dialogue, clothes and attitudes down completely right. Even the main song of the movie (\"On the Radio\" by Donna Summer) was a big hit before this came out. This film hit me harder than any other teen film of the time because I could understand and relate to the characters. I knew girls in high school who were just like this! The film is (of course) dated but it captures a time we will never see again. The acting is good on all counts with Foster giving the best performance. The relationship between her and Kellerman (who was excellent) was realistic and well-done. Even Scott Baio (who has a small role as a friend of the girls) more or less realistically played a teen boy. A very good movie--essential viewing if you came of age in 1980. The film has a deserved R rating (plenty of drug use and swearing) but should be seen by all teens. I give it a 8.", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0412", "text": "Perhaps more than many films, this one is not for everyone. For some folks the idea of slowing down, reflecting and allowing things to happen in their own time is a good description of their personal hell. For others an approach like this speaks to some deep part of themselves they know exists, some part they long for contact with. I suppose it's a function of where I am in my own life these days, but I count myself in the camp of the latter group. I found the meditative pace of this film almost hypnotic, gently guiding me into some realm almost mythological. This is indeed a journey story, a rich portrayal of the distance many of us must travel if we are to come full circle at the end of our days. Much as been written of Mr Farnsworth's presentation of Alvin Straight, though I'm not sure there are words to express the exquisite balance of bemused sadness and wise innocence he conjured for us. Knowing now that he was indeed coming to terms with his own mortality as he sat on that tractor seat makes me wish I had had the opportunity to spend time with him before his departure. I hope he had a small glimmer of the satisfaction and truth he had brought to so many people, not just for \"acting\" but for sharing his absolute humanity with such brutal honesty. Given the realities of production economics, I'm not sure full credit has been given Mr Lynch for the courage he showed in allowing the story to develop so slowly. An outsider to film production, I nonetheless understand there are few areas of modern life where the expression \"time is money\" is so accurately descriptive. Going deep into our hearts is not an adventure that can be rushed, and to his credit Mr Lynch seems to have understood that he was not simply telling a story--he was inviting his viewers to spend some time with their own mortality. No simple task, that. If you'd like to experience the power of film to take introduce you to some precious part of yourself, you could do worse than spending a couple of hours with The Straight Story. And then giving yourself some time for the next little while simply listening to its echoes in the small hours of the night.", "label": 1, "domain": "movie_review", "token_count": 441, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0413", "text": "I really am shocked to see the number of reviews that lambaste this movie. This movie was not intended to be a \"deep thought\" movie, which is what the vast majority of the reviewers seem to think it should be. In fact, it would appear that if ANY movie doesn't produce a life altering insight, and a deep, twisted, mind boggling plot, they would rate it a 1 or 2. Don't trash a movie because you don't like the genre, people. This movie was an Action/Comedy flick, and that's all it was intended to be. And for an Action/Comedy, it was very well done. I was actually rather surprised that I enjoyed it as much as I did, having never really been a Jamie Foxx fan, and having the over-used plot that it has. The plot was nothing spectacular, using the typical criminal gets out of prison, and is thrown into bad-guy plot while trying to clean up his act (See Blue Streak, Hudson Hawk, 48 Hours, etc. etc. etc.) but it was warmed over with a bit of a technological twist. Now the \"bad guys\" are actually the \"good guys\" and the REAL \"bad guy\" is an uber-geek. Jamie Foxx actually plays a convincingly humorous, while at the same time rather intelligent and serious main character, and didn't try to overdo the humor side of the film. If you're looking for a deep underlying plot such as in \"The Matrix\" or a drama such as \"Of Mice and Men\" then this movie isn't for you. But if you enjoy the raw action, excellent fast-paced filming, and an occasional twist of humor tossed in, this movie won't disappoint you. I would normally have rated it about an 8 (on the same level as the Die Hard Trilogy), but instead gave it a 10 to try and bring the score up to what it SHOULD be.", "label": 1, "domain": "movie_review", "token_count": 402, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0414", "text": "I think the majority of the people seem not the get the right idea about the movie, at least that's my opinion. I am not sure it's a movie about drug abuse; rather it's a movie about the way of thinking of those genius brothers, drugs are side effects, something marginal. Again, it's not a commercial movie that you see every day and if the author wanted that, he definitely failed, as most people think it's one of the many drug related movies. I, however, think something else is the case. As in many movies portraying different cultures, audience usually fully understands movies portraying their own culture, i.e. something they've grown up with and are quite familiar with. This movie is to show what those \"genius\" people very often think and what problems they face. The reason why they act like this is because they are bored out of their minds :) They have to meet people who do mediocre things and accept those things as if they are launching space shuttles on daily basis. They start a fairly hard job and excel in no time. They feel like- I went to work, did nothing, still did twice as better as the guys around me when they were all over their projects, what should I do now with my free time. And what's even more boring? When you can start predicting behavior not because you're psychologist, but instead because you have seen this pattern in the past. So, for them, from one side it's a non challenging job, which is also fairly boring sometimes, and from another they start to figure out people's behavior. It's a recipe for big big boredom. And the dumbest things are usually done to get out of this state. They guy earlier who mentioned that their biggest problem is that they are trying to figure out life in terms of logic (math describes logic), while life is not really a logical thing, is actually absolutely right.", "label": 1, "domain": "movie_review", "token_count": 388, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0415", "text": "I saw this film at the Toronto Film Festival, where it received a standing ovation! This film tells a story that to my knowledge has never been told before--namely about the Rosenstrasse (a street in Berlin)uprising of German gentile women who were married to Jews at the end of the Second World War. As such, it is a unique story, and what's more, is the only film about the Holocaust that I have ever seen that shows that there were GOOD Germans (the helping family in \"Anne Frank\" for instance was Dutch) who did NOT support the Nazis, and, in fact, had the fortitude to stand up against their own country's immorality and brutality during the Nazi regime, at the risk of their very lives. The acting is great across the board, the framing story in New York interesting and intricate, the direction from Von Trotta masterful in every scene, and the production values, including the gorgeous cinematography, outstanding. Of course the family in New York could be speaking German. Many immigrants in this country choose to speak in their native tongue with their family--a common occurrence. So that criticism is unwarranted. To say more would spoil the experience. The film is long, but I did not look at my watch once. I am hoping this film gets some distribution is North America, for not only is this film a masterpiece, but it can actually help heal any animosity people have towards the Germans because of their support of Hitler. If this film is playing in your area, I URGE YOU TO SEE IT! You will be glad you did!", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0416", "text": "This well conceived and carefully researched documentary outlines the appalling case of the Chagos Islanders, who, it shows, between 1969 and 1971, were forcibly deported en masse from their homeland through the collusion of the British and American governments. Anglo-American policy makers chose to so act due to their perception that the islands would be strategically vital bases for controlling the Indian Ocean through the projection of aerial and naval power. At a time during the Cold War when most newly independent post-colonial states were moving away from the Western orbit, it seems British and American officials rather felt that allowing the islanders to decide the fate of the islands was not a viable option. Instead they chose to effect the wholesale forcible removal of the native population. The film shows that no provision was made for the islanders at the point of their ejection, and that from the dockside in Mauritius where they were left, the displaced Chagossian community fell into three decades of privation, and in these new circumstances, beset by homesickness, they suffered substantially accelerated rates of death. Following the passage of more than three decades, however, in recent months (and years), following the release of many utterly damning papers from Britain's Public Record Office (one rather suspects that there was some mistake, and these papers were not supposed to have ever been made public), resultant legal appeals by the Chagossian community in exile have seen British courts consistently find in favour of the islanders and against the British State. As such, the astonishing and troubling conclusions drawn out in the film can only reasonably be seen as proved. Nevertheless, the governments of Great Britain and the United States have thus far made no commitment to return the islands to what the courts have definitively concluded are the rightful inhabitants. This is a very worthwhile film for anyone to see, but it is an important one for Britons and Americans to watch. To be silent in the face of these facts is to be complicit in a thoroughly ugly crime.", "label": 1, "domain": "movie_review", "token_count": 402, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0417", "text": "Robert A. Heinlein's classic novel Starship Troopers has been messed around with in recent years, in everything to Paul Verhoeven's 1997 film to a TV series, to a number of games. But none of these, so to speak, has really captured the spirit of his novel. The games are usually unrelated, the TV series was more of a spin off, and the less said about Verhoeven's film, the better. Little do most know, however, that in Japan, an animated adaptation had already been done, released the year of Heinlein's death. And, believe it or not, despite its differences, this 6-part animated series is, plot-wise, the most faithful adaptation of Heinlein's classic. The most obvious plus to this series is the presence of the powered armor exoskeletons, something we were deprived of in Verhoeven's film. Like the book, the series focuses more on the characters and their relationships than on action and space travel, though we see a fair amount of each. While events happen differently than in the book, the feel of the book's plot is present. Rico and Carmen have a romantic entanglement, but it's only slightly more touched upon than in the book. While some may believe the dialogue and character interaction to be a bit inferior to the book (it gets a bit of the anime treatment, but what did you expect?), but it's far superior to the film. Heinlein's political views are merely excised, as opposed to the film, where they are reversed. The big payoff of the series, however, is the climatic battle on Klendathu between the troopers and the bugs/aliens, which features the kind of action from the powered armor suits we would have like to have seen in a film version. Overall, I enjoyed this series because I wanted to see a vision closer to that of Heinlein. And I think they did pretty well with this. If you can find this series, give it a look.", "label": 1, "domain": "movie_review", "token_count": 413, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0418", "text": "Steven Spielberg (at 24) had already directed two superb episodes of a 1971 series called \"The Psychiatrist\", starring Roy Thinnes. One episode had been about an emotionally troubled 12-year old boy and the other was about a vibrant young man (Clu Gulager in his best performance) who is dying of cancer. Both episodes were stunning, visually unlike anything else on TV, and emotionally complex and adult. The creators of \"The Psychiatrist\" were Richard Levinson and William Link, who created \"Columbo\" and also produced its first season. Peter Falk insisted on first rank, experienced TV directors for the first season of \"Columbo\", like Bernard Kowalski and Jack Smight. But Falk agreed to Spielberg after watching part of the Clu Gulagher episode of \"The Psychiatrist\". Spielberg says on the DVD of \"Duel\" that he loved Steven Bochco's \"Murder by the Book\" script (based on a Levinson/Link story), and he tried to make the production look like a million dollar feature, even thought he had a lot less money to work with. This episode of \"Columbo\" is far more visually stylish and makes better use of the sound track and background music than almost any other \"Columbo\" episode, even though the series always used top directors. Spielberg manages to keep the great Falk and Cassidy from hamming it up too much, but both actors are still a lot of fun. Spielberg also gets fine supporting work from Martin Milner, Rosemary Forsyth and Barbara Colby. All the performances have a freshness and vitality about them. The only \"Columbo\" episode that was close to being as well directed is the \"By Dawn's Early Light\" episode with Patrick McGoohan (directed by Harvey Hart). I think the two episodes of \"The Psychiatrist\" and this episode of \"Columbo\" suggest Spielberg hasn't developed technically all that much as a director. He was great from the beginning. In a \"Combat!\" DVD commentary of a 1962 episode guest starring Albert Salmi, Robert Altman says that episode was pretty much as good as he ever got as a director. Maybe the same is true of Spielberg.", "label": 1, "domain": "movie_review", "token_count": 457, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0419", "text": "Paul Reiser steps away from the standup comedy spotlight to write a warmly humorous and gently tender story about family - what we see and what we don't see, what we expect and what surprises us. THE THING ABOUT MY FOLKS doesn't set any new standards for film, but it is a fine little story well told that reminds us about the significant bonds that family represents. Sam Kleinman (Peter Falk) has been a workaholic, at times pushing his wife Muriel (Olympia Dukakis), his daughters (Mackenzie Connolly and Lydia Jordan), and his son Ben (Paul Reiser) into the background. One day Muriel leaves a note that after years of marriage she is leaving! Her daughters, along with Ben's wife Rachel (Elizabeth Perkins) immediately begin the search for her whereabouts, leaving the confused and hurt and disgruntle Sam to sort things out on a road trip with son Ben. The road trip becomes a time for the two men to learn who each other is and what they each mean to their status as father and son and as family members. Sam relaxes for the first time in his life and introduces the now workaholic Ben to the pleasures and fun of living. The trip comes to an end with a phone call about the whereabouts of Muriel and why she left and the regrouping of the wiser family draws the story's warm ending. All is not what it seemed: it's better and, well, different. Falk and Reiser play off each other like the pros they are, but in many ways the film belongs to the brief moments when Olympia Dukakis is on screen, reminding us that she is one of our strongest matriarchs on film. Well worth viewing. Grady Harp", "label": 1, "domain": "movie_review", "token_count": 363, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0420", "text": "Roman Polanski masterfully directs this sort of a variation on the same theme as Repulsion. I can't imagine there is one honest movie goer not able to acknowledge the fine director in Le Locataire, yet both parts of the dyptic may not be thoroughly satisfactory to most people, myself included. Polanski is very good at making us feels the inner torture of his characters (Deneuve in Repulsion and himself in Le Locataire), starting with some lack of self-assurance soon to turn gradually into psychological uneasiness eventually blossoming into an irreversible physical malaise. The shared ordeal for the characters and audience is really dissimilar from the fright and tension of horror movies since there's no tangible supernatural element here. While horror movies allow for some kind of catharsis (be it cheap or more elaborate) Polanski sadistically tortures us and, if in his latter opus the dark humour is permanent, we are mostly on our nerves as opposed to on the edge of our seats. Suspense, horror, all this is a matter of playing with the audience's expectations (alternatively fooling and fulfilling them), not literally with people's nerves. In my book Rosemary's Baby is a far greater achievement because sheer paranoia and plain rationality are in constant struggle: the story is about a couple moving in a strange flat, while we are forced to identify with a sole character. What's more if the fantasy elements are all in the hero's mind the situation is most uncomfortable since we, the viewers, are compelled to judge him, reject him while we have been masterfully lured (\"paint 'n lure\") into being him.", "label": 1, "domain": "movie_review", "token_count": 336, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0421", "text": "Everybody's got bills to pay, and that includes Christopher Walken. In Vietnam, a group a soldiers discover that the war is over and are heading back home when they spot a bunch of POWs, including Christopher Walken. Following a Mad Max 3 (!) Thunderdome fight, and a short massacre later. Walken and some Colombian guy split a dollar bill promising something or other. Cut to the present (1991), and Colombian guy is leading a revolution against El Presidente. He's successful at first, but after El Presidente threatens to crush folks with a tank, he's forced to surrender and is shot in the head on live television. This is shown in full gory detail as a news flash on American telly, which leads Walken to assemble the old squad (even though he wasn't actually part of that squad to begin with), in order to invade Colombia and gun down thousands of people. McBain is a monumentally stupid film, but for all that it's also a good laugh, and action packed too. This is one of those movies where logic is given a wide berth - how else could Walken shoot a fighter pilot in the head from another plane without suffering from decompression, or even breaking a window? Also, it seems that these guys can gun down scores of drug dealers in New York without the police bothering. There's plenty of b-movie madness to chew on here, from Michael Ironside's diabolical acting in the Vietnam sequence, to the heroic but entirely pointless death of one of the heroes, to the side splitting confrontation between Walken and El Presidente, and let's not forget the impassioned speech by the sister of the rebel leader, being watched on television in America (nearly brought a brown tear to my nether-eye, that bit). It's out there for a quid. Buy it if you have a sense of humour. See how many times you can spot the camera crew too.", "label": 1, "domain": "movie_review", "token_count": 398, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0422", "text": "Police Story is one of Jackie Chan's classic films that helped shape the Hong Kong cinema. It is a masterpiece that should not be missed by any action movie fan. From the beginning it is obvious that Jackie Chan's stunt team literally risked their live to make this film. Both the action and the stunts are extremely realistic and innovative. Even today, no movie has outdone police story in dangerous stunts. Many people were hospitalized in Police Story including Jackie Chan. The fighting is not as indisputably exceptional as the stunts but the fighting in this movie helped change and define Jackie Chan's use of props. Throughout the film Chan uses odd object to stop attackers and is constantly throwing assailants through thick glass. The action feels real because the stuntmen are giving the movie all they have to give and Jackie Chan's coordination is outstanding. The rest of the aspects of the film are not without flaws but they will not disappoint any action fan. Chan not only plays a believable risk taking cop but shows the powerful changes that his character goes through as he falls into escalating desperation. The plot is powerful but a modern viewer may find it tedious at times. While the comedy will provide a good number of laughs it does not always distract the audience from the lack of action. However, for the time period it was made in, the driving aspects of the plot are entertaining. There a good number of interesting and well played characters dispersed throughout the film as well. Overall police story is without a doubt one of the best action movies ever made. And even in Hollywood the influences of this one film are not to be ignored.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0423", "text": "Delightful film directed by some of the best directors in the industry today. The film is also casting some of the great actors of our time, not just from France but from everywhere. My favorite segments: 14th arrondissement: Carol (Margo Martindale), from Denver, comes to Paris to learn French and also to make a sense of her life. Montmartre: there was probably not a better way to start this movie than with this segment on romantic Paris. Loin du 16ème: an image of Paris that we are better aware of since the riots in the Cités. Ana (Catalina Sandino Moreno) spends more time taking care of somebody else's kid (she's a nanny) than of her own. Quartier Latin: so much fun to see Gérard Depardieu as the \"tenancier de bar\" with Gena Rowlands and Ben Gazzara discussing their divorce. Tour Eiffel: don't tell me you didn't like those mimes! Tuileries: such a treat to see Steve Buscemi as the tourist who's making high-contact (a no- no) with a girl in the Metro. Parc Monceau: Nick Nolte is great. Ludivine Sagnier also. I've spend 3 days in Paris in 2004 and this movie makes me want to go back! Seen in Barcelona (another great city), at the Verdi, on March 18th, 2007. 84/100 (***)", "label": 1, "domain": "movie_review", "token_count": 315, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0424", "text": "My older sister was born in March of 1985 and has cerebral palsy. in her 22 years of life, she has seen nothing but the walls of our house and her school which is also occupied with other disabled kids. i have been the butt of everyone's jokes because my sister is disabled, and i still think to this day that nobody is, or ever will give a damn about her and her condition. Then i saw this film. I knew what Christy's family was going through. but they were lucky. Christy could talk, he could communicate, and he had artistic skills. my sister can walk, but she can't utter a word, and she can't use her hands to do anything but grab onto things. but this film made me realize there were other people in the world like my sister, and the ending (to tell the truth) made me cry. AND I'VE SEEN SHAWSHANK!!! This film is seriously underrated, and it shouldn't. This movie tells people something. that people should be proud of their own lives. thinking you can't write well? this guy wrote with his foot. thinking you're not attractive? this guy got turned down by lots of girls, because of his condition. not the fastest runner? christy couldn't even stand up. My point: Parents of young children, i suggest your children watch this movie with you, so they'll know the next time they see someone on the street in a wheelchair, they don't stare at them like they're aliens. My sister got millions of stares, and it breaks my heart to think that this is still happening to many people. This film will teach people, that people who might not seem \"normal\" are people too. 10/10", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0425", "text": "For those who like their murder mysteries busy, this is definitely the one to see, as it is chock full of interesting and suspicious characters, most of them wealthy Long Island socialite types. As the star detective, William Powell is alternately starchy and inspired, behaving at times as if he and his suit went to the cleaners and got pressed together. Mary Astor is very lovely here. Powell had made a career out of playing the lead character, Philo Vance, in a series of movies made at a couple of studios over several years. In-between these films he developed into a somewhat offbeat romantic lead, at times even essaying gentleman gangster roles. Already middle-aged, he was stuck in somewhat of a career rut by the time this one came along. As with so many early talkie stars, it seemed that his time had come and gone, that he was fine for early Depression Prohibition-era films, but that with changing times he was perhaps too mature and dandyish to endure. The Kennel Murder Case, directed by the criminally neglected Michael Curtiz, is one of the last of the \"old Powells\", while the next year would herald in the first of the new ones, The Thin Man, the success of which would catapult its leading players into the Hollywood stratosphere. In Kennel we can see the movies still in a somewhat stiff, ritualized pattern, as the camera does not move much, with the acting, like the presentation, tending toward the theatrical. There's no harm in this approach, though, which has its charms. It gives the movie a baroque quality.", "label": 1, "domain": "movie_review", "token_count": 330, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0426", "text": "\"Cinderella\" is a film about a young girl whose mother passed away and her father remarried. Once her father died, Cinderella's stepmother became very mean to her and made her do all of the chores around the house, like cleaning up after her two evil stepsisters. One day the King sent out a message to all of the single women to attend the Royal Ball in honor of his son, to find a wife. Of course, Cinderella didn't get to go, but her stepsisters did. Cinderella was very upset and thought that there was no way she could attend the Royal Ball, until her fairy godmother appeared. So she did some magic and made Cinderella into a beautiful woman, but she had to be back by midnight because that is when the magic changes back. While at the Royal Ball, Cinderella loses track of time and the clock strikes midnight, so she runs out of the palace and loses her glass slipper. Then the King orders the duke to find the women who wore that slipper. The duke searched every house, but finally found the women who it belonged to, Cinderella. Clyde Geronimi, Wilfred Jackson, and Hamilton Luske directed one of the best animated Disney films in 1950. This film is about a magical fairytale. In the beginning of the film Cinderella was a servant to her own family and had nobody to love her, but with a little bit of magic her whole life changed around and finally found love. My favorite thing about \"Cinderella\" is the music. When Cinderella's fairy godmother appeared doing her magic, she sang the song Bibbidi Bobbidi Boo. When I was a child, it was one of my favorite songs to sing around my house, so I will never forget it. I also loved the part when Cinderella and the Prince were singing the song So This is Love while they were dancing because they realized that they are in love. Overall this film was my favorite film when I was a little child because every little girl wants to live a fairy tale life.", "label": 1, "domain": "movie_review", "token_count": 425, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0427", "text": "This is yet another gritty and compelling film directed by Sam Fuller in the early 1950s. This minimalist and fast-working director has something unusual for his earlier films--a cast with some stars. Richard Widmark, Jean Peters and Richard Kiley star in this film about a group of Communist agents who are trying to sneak secrets out of America--and they'll stop at nothing to succeed. The film starts with Peters on a subway car being watched by federal agents. They know she is a link in a long espionage chain. Unknown to everyone is the wild card in the equation--a small-time pickpocket (Widmark) is also on the train and he manages to steal the secrets that Peters is carrying. Widmark thinks it's just another purse he's ransacked--only later does he realize the seriousness of what he's stolen. Now it's Widmark on his own--with Commies and the FBI hot on his trail. Widmark and the rest are exceptional and the film is gripping from start to finish. Although she didn't get top billing, a special mention should be made of Thelma Ritter. This supporting actress had perhaps the performance of her lifetime as a stool pigeon. Seldom was she given this much of a chance to act and I was impressed by her ability to play a broken down and sad old lady. As far as the script and directing go, they are very good--but with one small exception. At first, I loved the way Widmark and Peters interacted. It's one of the few times on film you'll see a woman punched square in the mouth! Now THAT'S tough. Later, inexplicably, they become amazingly close--too close to be believable. Still, with so much great drama and such an effective Noir-like film, this can be overlooked. See this film.", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0428", "text": "Jason Bourne sits in a dusty room in with blood on his hands, trying to make sense of what he's just done. Meanwhile, a CIA chief in NYC outlines the agency's response to what's just happened on screen. An American flag stands proudly on the centre of his desk in the foreground of the shot, but as he speaks, it slips out of focus as his plan veers into morally dubious territory, as if it doesn't want to be associated with the course of action the government man decides is necessary in the interests of national security. This shot effectively captures the mood of the film. As well as portraying Bourne's quest to find out how he became Jason Bourne, Ultimatum is also an examination of the human costs of the measures taken to protect us in the interests of stability and security. It is also probably the best film you'll see in the cinema this year. It's just so intense. Bourne says to Simon Ross (Considine) \"This isn't some newspaper story, this is real\" and in the audience you almost believe him. The camera shakes, but remains steady enough for you to see everything and feel like you're there with Bourne as he tries to elude his pursuers, and the performances are so good that these guys seem as though they are the characters they're portraying, instead of just being actors performing well-written roles. The action scenes are so brutally fast-paced and well choreographed that they seem instinctive instead of planned to the minutest movement; the stunt-work is nothing short of amazing. The pacing is just incredible. It keeps driving forward towards its conclusion, but not so fast that it leaves you struggling to piece together the plot; the script delivers the information you need as quickly and clearly as possible before moving on to the next tense action set-piece. While they're often simple (the Waterloo sequence is essentially just a man on a phone being watched by a man on a phone) they're charged with such dramatic intensity that you can't take your eyes off them. The film is just so focused on powering forwards that you can't help being swept along by it. With its intense action set-pieces, brilliantly paced storyline, and intelligent examination of the decisions made in the name of national security, the Bourne series is one that accurately captures the ambiguities of our age. Ultimatum is its peak.", "label": 1, "domain": "movie_review", "token_count": 480, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0429", "text": "Parker and Stone transplant their pacy expletive-ridden humour from their animated masterpiece to a feature length live action film with generally good results. Much of the film is Trey and Matt running amok with their new toy box. The plot is simplicity itself: two average guys invent a new sport, a blend of driveway basketball with baseball scoring which becomes a national craze. Along the way they encounter numerous sporting movie cliches and send them up, along with any other bit of popular culture that comes into their sights. It runs like a stretched South Park episode, with the usual machine-gun dialogue, toilet humour and homilies from the heart. If this film has a weakness it is the association with the team that gave us \"Airplane\" and the \"Naked Gun\" series. This influence is clearly seen with the heavy use of lame sight gags and the presence of a glossy and rather two-dimensional Yasmine Bleeth in the role usually given to Priscilla Presley. Robert Vaughn does a little better playing the corporate b**tard that has been his party piece ever since \"Bullitt\" and Ernest Borgnine overacts as only he can, but one must admit he's perfect for the role of the lunatic team owner. For those who haven't noticed yet, Parker and Stone seem to be more comfortable as rock star wannabes than comics. This manifests in the prominence given to the soundtrack in just about everything they create. As usual, they give a good selection here including the obligatory track by their own ultra-non-PC vehicle DVDA. A special mention must go to Dian Bachar, who deserves some sort of award for enduring the difficult job of playing Stan to Parker and Stone's rampaging pair of Cartmans. In summary, this is an entertaining comedy which is held back from its full potential by too much reliance on the \"Naked Gun/Airplane\" formula. Parker and Stone could do something truly brilliant (or absolutely awful) if given full control over a future film. America, either lock these guys up or put them in charge.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0430", "text": "I was not really a big fan of Star Trek until past 2-3 years. Thanks to the advent of Netflix and post 2000 video technology distribution, I am able to embark into the past of all the great Star Trek episodes. For those that don't really watch every single episode and know them by heart, through TNG, DS9, Voyager, etc., general popular consensus will say -- \"I like The Next Generation\" the best. That's because Captain Picard and his crew were fresh when they first appeared after decades of Star Trek starvation. But to be quiet honest, I appreciate the creativity of Voyager's episodes more than TNG. Voyager's episodes also progresses through time unlike TNG. Granted Data from TNG is great but it eventually gets old but Voyager's doctor -- now that's creativity! Instead of making artificial intelligence awkward and jerky, give him the freedom to express beyond anything you imagined. Not only is Picardo such a great actor but the premise setting for his expansive, self growth, as a doctor, self realization now that is science fiction at its best! Endgame portray him as a husband married to an \"organic\", inventing neuro-implant transceiver for human-machine interface, and even -- in the episode before Endgame, to disobey Captain's order and make \"human\" mistakes. Unlike DS9 which are blessed with 2 beautiful women right from 1st episode, Voyager has to survive 3 seasons without Jeri Ryan and I believe it is Picardo that carried them with his personality. Of course the rest of the Voyager's cast chemistry just flows effortless, Harry Kim and Tom Paris -- very natural. I love Tuvoc occasional humor, despite being a Vulcan. Finally, I'm so glad they got rid of that original female captain -- oh, if you get to watch the rare footage -- thank God for Kate! She has developed through the 7 years into an extremely confident, believable, and respectable female captain. What a GREAT job! Thank you Star Trek for making Voyager, I enjoy every episode, the creative exploration of possibilities, of morals, and of our Cosmic expanse.", "label": 1, "domain": "movie_review", "token_count": 435, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0431", "text": "I've read a number of reviews on this film and I have to say \"What is wrong with you people?!?!\" This was an excellent film! I thought this film was superb from start to finish and the story was extremely well told. I'm convinced that the people that didn't like this film weren't paying very good attention to the film. There are a number of very important scenes that if you aren't paying attention you will be confused and the following scenes may not make sense. I urge anyone who didn't like this film to watch it again and watch it alone so that you can truly pay attention. The story made perfect sense to me and as I said, was very well told. Every scene in the film has a point and everything fits together at the end of the film. All the actors did a fantastic job! Sean Connery was very good in his role as always. Laurence Fishburne was superb as Tanny Brown, playing a very interesting character. Kate Capshaw was a nice touch as well, and looks fantastic. Blair Underwood was a pleasant surprise, I didn't really expect anything great from him, but he pulled off a great performance. Ed Harris was the real gem in the film. He plays a truly sick individual and really makes you see how disturbed his character is. Watch his eyes in his scenes, just superb!!! Also, there is a very young Scarlett Johansson (as Kate) in one of her first roles...not a bad place to start. Excellent cast in this film! I would strongly recommend this film to anyone that likes any of the cast members or just likes thrillers. This is a great film and should be seen. Don't listen all these other people's opinions, go see the movie and come to your own conclusions. I hope that you will see the film, and I hope that you enjoy it as much as I do. Thanks for reading, -Chris", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0432", "text": "This very good movie crackles with tension. The stakes are, of course, high--will the police and Widmark, the public health doctor, apprehend the criminals who don't know that they are carrying plague before a full-scale epidemic breaks out? But smaller plot elements introduce tension in every scene--between Widmark and the police captain, between the bad guys played by Palance and Mostel, between Palance and a dying plague-stricken man whom Palance mistakenly believes is the subject of a manhunt because he has smuggled in some valuable commodity, between Widmark and his wife, and with the underlying question of whether the public is better served by informing them of the danger or hiding the situation to avoid a full-scale panic. The movie is beautifully shot by Kazan, in extraordinarily well-choreographed long takes shot on location in New Orleans, and ends in a stunning climax, where Palance flees like a rat from his pursuers, through the docks and warehouses of the city. The commentary is superb, probably the best that I've heard, covering the cinematography, the framing and lighting of shots, the production design, the casting of non-professional actors in small roles, and the ironies and parallelisms in the plot, like an insightful seminar on 1950s film techniques and film noir generally. Watch it once to enjoy the film on its own, and, if you are interested in film-making, a second time with the commentary on to learn.", "label": 1, "domain": "movie_review", "token_count": 300, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0433", "text": "'Una Giornata Particolare' is a movie that has a title that sounds so familiar I thought I had seen it more than once. Now that I finally I have seen it, I am very glad. This is one of the better Italian movies I know, with one of the most wonderful performances by Marcello Mastroianni, who stars in other masterpieces such as 'La Dolce Vita' and '8 1/2', both from the great Federico Fellini. Directed by Ettore Scola, this is a movie that takes the time to introduce the characters and slowly develops a story on a special day, the day Adolf Hitler visited Rome. Marcello Mastroianni plays Gabriele, the neighbor of Antonietta (Sophia Loren). She is a member of Mussolini's party, pretty fanatic in her thoughts, and he is a member no more. The reason for that I will not reveal. On the day every person from their building, including her husband and children, is out to see Hitler, they are still in the building. Antonietta's bird escapes and flies to Gabriele's apartment, and this is how the two meet. Right before Antonietta went to Gabriele he thought of killing himself, again for reasons I will not reveal. How the story develops from here I will not reveal, but it is what happens between the two that makes this such a special day, not the fact that Hitler is in Rome. Like I said, Mastroianni has a wonderful performance. You see he is a man who desperately wants someone around him, although at first we don't know why. May be he likes Antonietta, may be he is in love with her, may be there are other reasons. Antonietta feels what we feel. What does this man want from her? She likes the attention anyway. We see how she does her hair to look attractive for the man. Loren plays the scenes very good as well. We understand her questions, although we can't be sure what her intentions are. The moments where we find out both their secrets, if that is what you can call it, is a great moment. How the story develops from there is even more interesting, but I don't want to spoil it for you. This is a movie you should see. Great performances and a beautiful cinematography, and the message it gives us still stands today.", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0434", "text": "Hayao Miyazaki name became prominent with Spitied Away, however what is often overlooked are director's first film efforts. Who remembers that Spielberg directed Duel or George Lucas directed THX 1138? I remember seeing fragments of this movie - almost certainly the last 45 minutes in late 80s and what stuck with me was the visual lushness of the design and animation. So when I found a copy in a well known store for £9 I couldn't resist but buy it. The odd thing is that the last 45 minutes of the movie do not tally with my memory of it (memory is funny that way). Viewing this movie now with all the gained knowledge of artists portfolios is how very like Jean 'Moebius' Giraud some of the artwork is. I can only assume some influence here. When Pazu catches a falling girl (Sheeta) his adventure really begins - the quest for Laputa - a reference to Jonathan Swift's overlooked portion of Gulliver's Travels. With healthy references to Jules Verne it's a basic good vs. bad chase movie with the final portion having the heroes end up on Laputa. This is the portion that is strongest in my memory - the 'pastoral' ecological aspect of Laputa returned to nature - the multitude of robots covered in moss beneath the giant tree. This is, in my opinion, the highlight of the movie - the views of the surface of Laputa, as opposed to the mechanised underground. Although this is the dichotomy of this movie - to show that even technology cannot overcome nature - the irony of the last robot tending the garden and animals. The ending of the movie Silent Running is almost exactly the same. It is incredibly stylish, I would not say 'slick' - very beautiful and organic and a tremendous amount of detail in the buildings, airships and the design and look of just about everything. Myazaki is a true master of this kind of Japnanese anime. Buy this movie and treasure it.", "label": 1, "domain": "movie_review", "token_count": 408, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0435", "text": "Gregory Peck's brilliant portrayal of Douglas MacArthur from the Battle of Corregidor in the Philippines at the start of the Pacific War largely through to his removal as UN Commander during the Korean War offers reason to believe all three of the above possibilities. Certainly the most controversial American General of the Second World War (and possibly ever) MacArthur is presented here as a man of massive contradictions. He claims that soldiers above all yearn for peace, yet he obviously glories in war; he consistently denies any political ambitions, yet almost everything he does is deliberately used to boost himself as a presidential candidate; he obviously believes that soldiers under his command have to follow his orders to the letter, yet he himself deliberately defies orders from the President of the United States; he shows great respect for other cultures (particularly in the Philippines and Japan) and yet is completely out of touch with his own country. All these things are held in balance throughout this movie, and in the end the viewer is left to draw his or her own conclusions about the man, although one is left with no doubt that MacArthur sincerely and passionately loved his country, and especially the Army he devoted his life to. Peck's performance was, as I said, brilliant - to the point, actually, of overshadowing virtually everyone else in the film (which is perhaps appropriate, given who he was portraying!) with the possible exception of Ed Flanders. I though he offered a compelling look at Harry Truman and his attitude to MacArthur: sarcastic (repeatedly referring to MacArthur as \"His Majesty,\") angry, frustrated and finally completely fed up with this General who simply won't respect his authority as President. Marj Dusay was also intriguing as MacArhur's wife Jean, devoted to her husband (whom she herself referred to as \"General,\" although their relationship seems to have been a happy enough one.) I very much enjoyed this movie, although perhaps would have liked to have learned a little more about MacArthur's early life. I have always chuckled at MacArthur's reaction to Eisenhower being elected President (\"He'll make a fine President - he was the best damn clerk I ever had\" - which seems to sum up what MacArthur thought the role of the President should be, especially to his military commanders during wartime.) Well worth watching. 8/10", "label": 1, "domain": "movie_review", "token_count": 473, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0436", "text": "The best film about marriage and family. This is a very interesting reflections to the couples that will be come to the dangerous and paradoxical fascinating world of marriage and family. This decision could be the better or the worst in our lives and the life of our kids. The real intrusion or help of 'friends' -or executioner if we leave-. The real role of families: they can help or they can destroy us. The mad priest who possibly is not much mad telling what could happen according the statistics and the reality. A couple who thinks in a 'special' marriage, live a painful story in their future own history. Who likes contract marriage? Nobody, after the priest tells their own history if they leave the future in another hands, if they don't know WHAT is the marriage. That the problems are true, that the life demand a real engage, guaranties, from each one. That the real victims of the divorce are kids, with real name –Andrea in the film- or names. That the abortion is only an easy exit: sadness, regrets and unhappiness will be there after abortion. That the state and social security thinks every time less in a real problems of the families. The gossip of the 'friends', the infidelity because of weakness and desperation of Steffania because Tomasso lives his life as if he were alone. Maybe someone could think that this film is a pessimistic film, but not. Steffania and Tomasso, in the deep of their hearts, they like a beautiful marriage and family, if not, Why they like marriage? A truly and beautiful marriage depends only of the couple: of each one of their decisions, of each one actions in their lives. The family could be a place where each one feel loved because being his or her, only by existing. The screenplay is wonderful. The performances are great: Steffania and Tomasso, ¡the almost cynical priest! An excellent direction and script. The colors and the management of the cameras, superb.", "label": 1, "domain": "movie_review", "token_count": 408, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0437", "text": "Stargate SG-1 is a spin off of sorts from the 1994 movie \"Stargate.\" I am so glad that they decided to expand on the subject. The show gets it rolling from the very first episode, a retired Jack O'Neill has to go through the gate once more to meet with his old companion, Dr. Daniel Jackson. Through the first two episodes, we meet Samantha Carter, a very intelligent individual who lets no one walk over her, and there is Teal'c, a quiet, compassionate warrior who defies his false god and joins the team. The main bad guys are called the Gouald, they are parasites who can get inserted into one's brain, thus controlling them and doing evil deeds. Any Gouald who has a massive amount of power is often deemed as a \"System Lord.\" The warriors behind the Gouald are called Jaffa, who house the parasitic Gouald in their bodies until the Gouald can get inserted in a person's brain. Through the episodes, we mostly get to see SG-1, the exploratory team comprised of Jack/Daniel/Teal'c/and Sam, go through the wormhole that instantly transports them to other planets (this device is called the Stargate) and they encounter new cultures or bad guys. Some episodes are on-world, meaning that they do not go through the Stargate once in the episode and rather deal with pressing issues on Earth. Through the years, you start to see a decline in the SG-1 team as close knit, and more character-building story lines. This, in turn means even more on-world episodes, which is perfectly understandable. My rating: 8.75/10----While most of this show is good, there are some instances of story lines not always getting wrapped up and less of an emphasis on gate travel these last few years. But still, top notch science fiction!", "label": 1, "domain": "movie_review", "token_count": 394, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0438", "text": "I was initially forced to attend by my wife as she is fascinated by the Royal families of Britain and their history, and she won't go to the cinema without me. Although viewers shouldn't expect to be electrified, this film is very well made and the visual aspect is second to none. In many ways it helps dispel the myth that Victoria was the miserable unsmiling dumpy woman usually seen in photographs. She was a bright intelligent and according to the history of her early years, a fun loving happy young woman. Her love of Albert was the essence of true love, and even if you only count the number of children she bore (9), they must have had a passionate relationship. All of this is well borne out in the film. To this end, the cast has been well selected with both Emily Blunt and Rupert Friend giving sound performances as Victoria and Albert. (SPOILER ALERT) The historical accuracy is somewhat questionable as at no time did Prince Albert get shot while defending Victoria. There was at least one assassination attempt when they were out together, but nobody was struck by the shot/s. I also found it odd that little was done to expand on the allegedly intimate relationship between Victoria's mother and Sir John Conroy. It is quite likely that this relationship was the true reason for Victoria's distaste for both her mother and Conroy. I also found it odd that there was an attempt to portray the relationship between Victoria and Lord Melbourne as erring on the romantic, or at least having the potential to become romantic. He was already in his late 50's when Victoria came to the throne, and while marriages between older men and young women were common in that era, the movie portrays Melbourne as being a dashing 30 something and rival to Prince Albert. There were apparently rivals to Albert, but she could never have married even slightly below her station in life, and Albert was one of only a handful who would have been acceptable in any case. All in all I have spent worse times at the cinema, and brownie points with my wife can't be a bad thing either.", "label": 1, "domain": "movie_review", "token_count": 424, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0439", "text": "Hickory Dickory Dock was a good Poirot mystery. I confess I have not read the book, despite being an avid Agatha Christie fan. The adaptation isn't without its problems, there were times when the humour, and there were valiant attempts to get it right, was a little overdone, and the events leading up to the final solution were rather rushed. I also thought there were some slow moments so some of the mystery felt padded. However, I loved how Hickory Dickory Dock was filmed, it had a very similar visual style to the brilliant ABC Murders, and it really set the atmosphere, what with the dark camera work and dark lighting. The darker moments were somewhat creepy, this was helped by one of the most haunting music scores in a Poirot adaptation, maybe not as disturbing as the one in One Two Buckle My Shoe, which gave me nightmares. The plot is complex, with all the essential ingredients, though not as convoluted as Buckle My Shoe,and in some way that is a good thing. The acting was very good, David Suchet is impeccable(I know I can't use this word forever but I can't think of a better word to describe his performance in the series) as Poirot, and Phillip Jackson and Pauline Moran do justice to their integral characters brilliantly. And the students had great personalities and well developed on the whole, particularly Damian Lewis as Leonard. All in all, solid mystery but doesn't rank along the best. 7.5/10 Bethany Cox", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0440", "text": "I am extremely picky about the films I see. I'd heard about Moon Child completely by accident. I've been a fan of L'Arc En Ciel for some time and a fan of Gackt and Mizer only recently. I finally found out the film was being re-released and picked it up without a second thought. Being as critical as I am about films, I will admit, the action scenes can be somewhat hokey at times...but they're meant too be, as another user suggested, it's the quintessential calm before the storm, quoting Gary Oldman from Leon...without getting into the spoilers, the film hit me extremely hard, because you realize that the boundaries of friendship are limitless and as they often say, true friendship is loyalty and like marriage, it's until death do you part. Hyde and Gackt give performances that showcase why they are able to commit such depth to their song lyrics, their passion for music happens onto the big screen and in the process it creates an exemplary film that will reach into one's soul and evoke response emotionally. Upon seeing the film for the first time, I realized it will probably remain in heavy rotation as far as my collection goes. I want to encourage anyone reading this post to pick up the film if you want to get away from the current Hollywood trend in film...this takes an entirely new direction using classic Yakuza film elements and how can you go wrong with a cameo from Ryo Ishibashi of Takashi Miike's \"Audition\" and \"Suicide Club\" fame? Man..I just can't say enough about this film, but I'll stop here. 10/10", "label": 1, "domain": "movie_review", "token_count": 339, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0441", "text": "While the soundtrack is a bit dated, this story is more relevant in the U.S. now more than ever. With not only blue collar jobs but everyone's jobs being outsourced by U.S. corporations while the government profits and American suffer. Peter Strauss is Emory, a steel worker who works the same job his father did for 35 years. His wife is well-portrayed by Pamela Reed, who is very realistic, trying to support the family with two children when Emory loses his job. The mill is closed under the pretext of mismanagement, but there is also embezzlement and cheaper wages where they can pay one steelworker in one month (outsourcing) what they would have to pay Strauss/Emory in a day. Never mind that these men are all good loyal workers who have values and try the best for their family. John Goodman, Gary Cole (as Strauss' brother) and a few other co-workers are also affected. It is very disturbing and realistic. Some scenes between Emory and his father are moving. Emory hopes his local union will be able to re-open the mill, as they promise to do so. Emory's brother, Lee already sees the writing on the wall. There are no jobs left in the rust-belt (Ohio) and they must move on. However where in the U.S. can they move to?. Where will it be better for a blue-collar steel worker?. There is a triumphant scene at the end where Emory and his crew fill the loading dock with steel products. The guard allows them to do this as a final gesture, one of the men committed suicide and he has empathy. Overall, a good message film about hard times right here in America. Something that few care to face until personally affected. 8/10.", "label": 1, "domain": "movie_review", "token_count": 366, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0442", "text": "I cannot say this movie is a disappointment because I read some reviews before watching and it did not do as well as I thought it would have. The bar was not set that high, so the fact that my expectations were met is not saying much. The Good: The city of New York. If you live in the city like me, you'll recognize certain places and understand that the city is supposed to be more than just a setting, rather one of the main characters. There are genuinely tender moments, humorous conversations, and plot twists left and right which all keep things interesting. The Bad: The first thing I thought after leaving the theater was that I wanted more, but not in the positive \"leave them wanting more\" fashion. Certainly the good skits/scenes outweigh the bad, but there are a lot of skits that fall within the \"in-between\" category, too many in fact, which is what ultimately brings the movie down. Also, New York City's diversity, though hinted at though the many distant pans of the city and mentioned in conversation throughout the movie, is never really realized or analyzed to the point of doing the city justice. For example, many of the skits involve well to do middle aged whites. I mean I know the city is home to many of the said demographic but come on, Paris Je'taime's plot and character diversity makes New York City look like Lancaster, PA, or someplace really white. It is just disappointing to see the city shortchanged on its heritage like that. Still, even after having said this, I would recommend giving New York, I Love You a view. Who knows, maybe you'll disagree with my opinion and maybe you won't. You will never know until you see it for yourself. This review is not meant to deter anyone from watching this movie, as everyone's opinion on art differs. I'm just giving you a very vague heads up on what to expect.", "label": 1, "domain": "movie_review", "token_count": 392, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0443", "text": "No, this hilariously horrible 70's made-for-TV horror clinker isn't about a deadly demonically possessed dessert cake. Still, this exceptionally awful, yet undeniably amusing and thus enjoyable cathode ray refuse reaches a breathtaking apex of absolute, unremitting silliness and atrociousness that's quite tasty in a so-execrable-it's-downright-awesome sort of way. Richard Crenna, looking haggard and possibly inebriated, and Yvette Mimieux, who acts as if she never got over the brutal rape she endured in \"Jackson County Jail,\" sluggishly portray a disgustingly nice and respectable suburbanite couple whose quaint, dull, sleepy small town existence gets ripped asunder when the cute German Shepard they take in as the family pet turns out to be some ancient lethal evil spirit. Pretty soon Mimieux and her two repellently cutesy kids Kim Richards and Ike Eisenmann (the psychic alien moppets from the Disney \"Witch Mountain\" pictures) are worshiping a crude crayon drawing of the nasty, ugly canine entity in the den. Boy, now doesn't that sound really scary and disturbing? Well, scary and disturbing this laughably ludicrous claptrap sure ain't, but it sure is funny, thanks to Curtis (\"Night Tide\") Harrington's hopelessly weak direction, cartoonish (not so) special effects, an almost painfully risible'n'ridiculous plot, and a game cast that struggles valiantly with the absurd story (besides the leads, both Martine Beswicke and R.G. Armstrong briefly pop up as members of a Satanic cult and Victor Jory has a nice cameo as a helpful Native American shaman). Favorite scene: the malicious Mephestophelion mutt puts the whammy on Crenna, practically forcing him to stick his hand into a wildly spinning lawnmower blade. While stuck-up snobby fright film fans may hold their noses at the perfectly putrid stench of this admittedly smelly schlock, devout TV trash lovers should deem this endearingly abominable offal the boob tube equivalent to Alpo.", "label": 1, "domain": "movie_review", "token_count": 437, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0444", "text": "Everyone we meet influences our thinking, modifies our ways, a little bit of that person rubs off onto us. \"The Eighth Day\" takes up this theme (Compare \"Rainmaker\"). In this film Harry (Daniel Auteuil) a businessman expert in sales psychology meets up with Georges (Pascal Duquenne), a Down's Syndrome child on the run. Winning performances from both these actors give this film its main strength. The opening sequence is excellent where Georges relates his theory on the creation of the world and in the closing scene we discover what God created on the eighth day. There are some moments in the story that are very frustrating for Harry. For example, Georges who is completely uninhibited demands a pair of expensive shoes and hasn't enough money. It's the kind of scene where you laugh through your tears. I liked the scene where the Down's Syndrome group on a trip to the Art Gallery escape on a bus and gate-crash the Paradis fun park. The most humorous of all the embarrassments is the scene where Harry and Georges pass a horse-float on the highway and, looking back, Georges gives the driver a rude salute. But there are some gentle scenes as well, especially the impressive use of close-ups of hands - hands feeling the sun,wind and rain, hands reaching up, hands reaching out and clasping in love and friendship. This is true cinema which touches the heart. There are very moving scenes where Georges proposes to Nathalie, where Georges cradles Harry's head in his arms, where Georges keeps calling for his dear Mom, where Georges teaches Harry to laugh..I felt there was a profound message in the film that life is beautiful- the very presence of grass (Did you know it cries when you cut it?), the trees overhead, the song of birds, the little insects - all nature's miraculous creatures. They are all there to be enjoyed if we but lie back (like Harry and Georges) look around us and listen......A beautiful film.", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0445", "text": "This review is for the extended cut of this movie. I first watched Dragon Lord when I bought it on DVD many years ago. I always liked this movie and you can read some of the more positive reviews of it to get the general idea. That being said. I've always found the storyline a bit confusing. The movie is, after all, a love story. And it always seemed strange to me that a love story should end with a 20 minute fight scene. Well, in the extended version this is no longer so. The old \"original\" version begins off with a huge barrel-climb/rugby-like sequence which is the new ending sequence in the extended version. The opening sequence is Dragon(Jackie Chan) hanging around his house and pretending to be training and reciting whenever his father is around. Other sequenced have also been shift or prolonged in the extended cut and the story makes a lot more sense when you watch it. The pacing is also better and overall it just works better. It feels more like a love story and doesn't leave you asking questions about why it ends so drastically and dramatically as the regular version does. I suggest everyone who is a Hong-Kong cinema, or just plain Jackie Chan fanatic to get a hold of the extended version and watch the movie the way it was originally intended.(Or at least that's how I think it was intended. Why else would they make it and rearrange some of the scenes) When I was done watching it, I felt like I had watched a completely new Jackie Chan movie although most of the sequences were the same.", "label": 1, "domain": "movie_review", "token_count": 321, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0446", "text": "Much to her adult children's chagrin & nearly immediately after Elizabeth's (Dame Judy Dench) husband's death, the widowed, attic tenor saxophone player becomes bent upon openly returning to her musical hobby. Now that George is dead, Elizabeth no longer has to practice playing sax in the attic. As she grows more pleased with playing in the open, Elizabeth takes a stroll along memory lane, remembering when she was a 15 year old member of a jazz swing band, \"The Blonde Bombshells\": supposedly, an all-girl WWII group of talented jazz swing musicians. One of the \"Blonde Bombshells'\" band members was a womanizing, cross-dressing drummer, Patrick (Ian Holm), with whom Elizabeth remained friends. Both Patrick & Elizabeth's 12-year-old grand-daughter, Joanna (Millie Findlay), press Elizabeth to round up the former band members & take up performing together again; this time as a bunch of sexagenarians. Among the band members she finds are the (still foxy!) bass playing, Madeleine (Leslie Caron); Dinah (Olympia Dukakis), a trumpet playing, alcoholic & out-spoken, money-grubbing divorcée & widow living off of wealth from her many (ex)marriages in a Craigievar Scottish castle; Gwen, (real life US star jazz singer, Clio Laine), having at the lead vocal; Annie, (June Whitfield), as the Salvation Army trombone player; Betty, (the late piano player, Joan Sims), who's located training the ivory keys in a Hastings pub. As Elizabeth, Patrick & Joanna scout the world for members of the 1940's band & try to convince them to resume performing together, Elizabeth is oft times beside herself as she learns more than she wants to know about their adult lives--including her own--while having a blast playing terrific music with the last of the living 'Blonde Bombshells'. Amusing, nostalgic, historical, sentimental, multi-generational entertainment that is seriously fun. The actors deliver wonderful performances. Regardless of their ages, they are still Bombshell entertainers who put on quite a show. (The DVD is now out & worth owning because of the bonus features & Dolby Digital sound). Surely as a fan of any of these terrific actors the VHS is a collector's item.", "label": 1, "domain": "movie_review", "token_count": 486, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0447", "text": "The premise for this movie is simple and so is the script: an elderly Muslim gets his teenage son to drive him in his similarly elderly station wagon from France to the haj in Mecca, Saudi Arabia, so that he can fulfill his holy Muslim obligation before he dies. The father is clearly devoutly religious, but the son is unimpressed; he accepts out of obligation to his father rather than to religion, he'd rather be with his (non-Muslim) girlfriend. The father is stubborn in a lot of things which the son doesn't understand and the petulance between them is the device that maintains the drama, although it is often rather irksome. However, like any good road movie there are oddball characters encountered along the way; for example a woman on a backroad in Croatia who upon being asked for directions to Belgrade simply gets in the backseat and points with her hand uttering one word which they assume to be a place but can't find it on the map. In Bulgaria another man they ask directions of confirms he can speak French but then provides an extensive commentary in Bulgarian. There is also occasional humor - in one country the son tires of eating egg sandwiches and wants meat - they are given a goat, but unfortunately (perhaps fortunately for the viewer) it runs away before the father can perform the Muslim slaughterman ritual. They eventually make it to Mecca - the Muslim equivalent of the Vatican but on a much grander scale. For westerners it is all bizarre but fascinating. The movie isn't sophisticated but is charming in its own way, a kind of National Geographic with soul.", "label": 1, "domain": "movie_review", "token_count": 326, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0448", "text": "Manhattan apartment dwellers have to put up with all kinds of inconveniences. The worst one is the lack of closet space! Some people who eat out all the time use their ranges and dishwashers as storage places because the closets are already full! Melvin Frank and Norman Panama, a great comedy writing team from that era, saw the potential in Eric Hodgins novel, whose hero, Jim Blandings, can't stand the cramped apartment where he and his wife Muriel, and two daughters, must share. Jim Blandings, a Madison Ave. executive, has had it! When he sees an ad for Connecticut living, he decides to take a look. Obviously, a first time owner, Jim is duped by the real estate man into buying the dilapidated house he is taken to inspect by an unscrupulous agent. This is only the beginning of his problems. Whatever could be wrong, goes wrong. The architect is asked to come out with a plan that doesn't work for the new house, after the original one is razed. As one problem leads to another, more money is necessary, and whatever was going to be the original cost, ends up in an inflated price that Jim could not really afford. The film is fun because of the three principals in it. Cary Grant was an actor who clearly understood the character he was playing and makes the most out of Jim Blandings. Myrna Loy, was a delightful actress who was always effective playing opposite Mr. Grant. The third character, Bill Cole, an old boyfriend of Myrna, turned lawyer for the Blandings, is suave and debonair, the way Melvin Douglas portrayed him. One of the Blandings girls, Joan, is played by Sharyn Moffett, who bore an uncanny resemblance to Eva Marie Saint. The great Louise Beavers plays Gussie, but doesn't have much to do. The film is lovingly photographed by James Wong Howe, who clearly knew what to do to make this film appear much better. The direction of H.C. Potter is light and he succeeded in this film that will delight fans of classic comedies.", "label": 1, "domain": "movie_review", "token_count": 442, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0449", "text": "Bravo to Czechs, their once-powerful movie industry seems to awaken from post-Communist slumber. The Loners is a comedy done with all the elements you would expect to see in a modern \"hollywood\" production minus the garbage that seems to get attached to the genre over the past several years. Superb soundtrack, excellent visual editing, beautiful Prague cityscape, to mention but a few. The story is actually comprised of several sub-stories that frequently intertwain and overlap, an is in essence a collage of destinies, fates, desires... It follows a group of urban youth-to-mid-thirties people through a variety of situations ranging from daily life and leisure activities to careers and obsessions. And it IS hillarious. There's actually a point in the movie where the entire theatre I was in (about a 100 people in a small art gallery) laughed non-stop for about 40-50 seconds. How often do you experience that with modern hollywood productions? Although the entire main cast is excellent (especially the upcoming Macedonian star Labina Mitevska in the role of an immigrant facing the all-too-familiar hardships) I have to single out Jiri Machacek for his superbly believeable portrayal of Jakub, a constantly stoned bohemian whose brain is severely affected by the stuff he smokes landing him in a plethora of funny situations. Conclusion: don't miss this one! It's got a lot to offer.", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0450", "text": "I've never been huge on IMAX films. They're cool, but once you get over that initial rush of \"Whoa, it feels like flying!\" the movies themselves are usually pretty corny and ordinary. The exceptions have been the powerful \"Everest\", the exhilarating \"Wild California\" and now the BBC's \"The Human Body\", a super-sized look at the insides of our bodies. Our bodies are machines of a complexity that is simply inconceivable. This 50 minute film could be 10 hours long, and still wouldn't get to all of the systems working in tandem just as I type this review and listen to my radio, and most of us take it all for granted. Here you can see the inside of a pumping heart (looks like an alien spaceship), the inside of your lungs, the tiny hairs in your eardrum that process sound, the development of a baby inside a mother's womb, and surprisingly, a few of the...um, less attractive functions that I thought it would shy away from (pimples, the churning of acids in the stomach...) This film also has a rather funky style to it, which sets it apart from other IMAX documentaries. For instance, we've all seen sperm finding its way to the egg, but have you ever seen it set to the tune of Marvin Gaye's \"Let's Get It On\"? It's creative moments like that that make \"The Human Body\" not just a health lesson, but fun as well.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0451", "text": "This film was released the year I was born and will be, like me, 70 in 2007. I watched it again last night having not seen it since high school. While it was full of 30's sentiment and the acting was a bit stereotyped, nevertheless, it was superb. Pearl S. Buck's story did come alive through the magic of the chemistry of Luise Rainer and Paul Muni. The novel which earned Ms. Buck the Nobel Prize for literature comes alive under the baton of Sydney Franklin which along with an excellent script recounts the story of peasant farmer, Wang Lung, whose father obtains a bride for him, a slave girl from the kitchen of a local landlord. In Buck's story, Wang's success is underwritten by his willingness to listen to his wife, most of the time, and the love of the land. In the end he comes to realize that his wife, like the land, is the source of his wealth, happiness and immortality. Buck's stories always had strong women cast in a critical spot to influence the outcome of events in the pre-feminist world. The German-born Luise Rainer brings a tentative but determined Peasant Chinese woman to life in her portrayal of Olan. Muni likewise captures the naive but honorable Wang, eventually caught between the two worlds of the wealthy and the peasant. Other classic characters include Charlie Grapewin, Dorothy Gale's Kansan Uncle Henry from the Wizard of Oz, Walter Connelly as the mewing, conniving uncle and Keye Luke as Number One Son-- but this time, not Charlie Chan's. A classic might be defined as a movie you can watch time and again and never tire of. If that's indeed the case, this film is a classic, no doubt whatsoever.", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0452", "text": "The problem with the 1985 version of this movie is simple; Indiana Jones was so closely modeled after Alan Quartermain (or at least is an Alan Quartermain TYPE of character), that the '85 director made the mistake of plundering the IJ movies for dialog and story far too deeply. What you got as a finished product was a jumbled mess of the name Alan Quartermain, in an uneven hodge podge of a cheaply imitated IJ saga (with a touch of Austin Powers-esquire cheese here and there). It was labeled by many critics to have been a \"great parody,\" or \"unintentional comedy.\" Unintentional is the word. This movie was never intended to be humorous; witty, yes, but not humorous. Unfortunately, it's witless rather than witty. With this new M4TV mini-series, you get much more story, character development of your lead, solid portrayals, and a fine, even, entertaining blend. This story is a bit long; much longer than its predecessors, but deservedly so as this version carries a real storyline and not just action and Eye Candy. While it features both action and Eye Candy, it also corrects the mistake made in the 1985 version by forgetting IJ all together and going back to the source materials for AQ, making for a fine, well - thought - out plot, and some nice complementing sub-plots. Now this attempt is not the all out action-extravaganza that is Indiana Jones. Nor is it a poor attempt to be so. This vehicle is plot and character driven and is a beautiful rendition of the AQ/KSM saga. Filmed on location in South Africa, the audience is granted beautiful (if desolate) vistas, SA aboriginal cultures, and some nice wildlife footage to blend smoothly with the performances and storyline here. Steve Boyum totally surprised me with this one, as I have never been one to subscribe to his vision. In fact, I have disliked most of his work as a director, until this attempt. I hope this is more a new vein of talent and less the fluke that it seems to be. This version rates a 9.8/10 on the \"TV\" scale from... the Fiend :.", "label": 1, "domain": "movie_review", "token_count": 462, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0453", "text": "This is a movie that gets better each time I see it. There are so many nuanced performances in this. William Tracey, as Pepi, is a delight, bringing sharp comic relief. Joseph Schildkraut as Vadas, is the only \"villian\" in the movie, and his oily charms are well used here. Frank Morgan, is delightful as the owner of the title shop, Mr. Matuschek, and his familiar manner is well used here. I especially liked the performance of Felix Bressart, as Pirovitch. Very believable in every facet of his role. The two leads are equally accomplished, with Margaret Sullivan doing an outstanding job of portraying a slightly desperate, neurotic, yet charming and attractive woman. This movie belongs to Jimmy Stewart though. The movie is presented from his point of view, with the action rotating around him. Mr. Stewart is more then up to the task of carrying the movie, with an amazing performance that uses a wide range of emotions. Just watch Stewart, when he is fired from his job, because of a misunderstanding. He is able to convey the shock, anger, fear and embarrassment that so traumatic an event causes, so perfectly. In my estimation, James Stewart is, without question, the greatest film actor in the history of the medium. There is no one else that has ever been captured on film that is able to so completely convey what he is feeling to an audience. At the time he made this movie, he still had most of his career ahead of him, yet he is completely the master of his craft. This is one of Jimmy Stewarts best movies, and also one of the sweetest, most enjoyable romantic comedies you will find. I greatly recommend this movie, especially for those that appreciate the work of Stewart.", "label": 1, "domain": "movie_review", "token_count": 367, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0454", "text": "This show is totally worth watching. It has the best cast of talent I have seen in a very long time. The premise of the show is unique and fresh ( I guess the executives at ABC are not used too that, as it was not another reality show). However this show was believable with likable characters and marvelous story lines. I am probably not in the age group they expect to like the show, as I am in my forty's, but a lot of my friends also loved it (Late 30's - mid 40's) and are dying for quality shows with talented cast members. I do not think this show was given enough time to gain an audience. I believe that given more time this show would have done very well. Once again ABC is not giving a show with real potential a real chance. With so many shows given chance after chance and not nearly worth it! They need to give quality shows a real chance and the time to really click and gain an audience. I really loved the characters and looked forward to watching each episode. I have been watching the episodes on ABC videos and the show keeps getting better and better. Although I think they owe us one more episode (Number 13?). We want to watch what we can! Bombard ABC with emails and letters and see if its possible to save this show from extinction. It certainly worked for Jerico. Some things are just worth saving and this show is definitely one of them. SIGN THE ONLINE PETITION TO ABC AT: http://www.PetitionOnline.com/gh1215/petition.html", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0455", "text": "A Pentagon science team seem to have perfected a serum which causes invisibility but when the lead boffin tries it out on himself he can't reverse the process. Frustrated and drunk with power, he turns psychotic in the classic H.G. Wells tradition. This is a gleefully horrible Invisible Man story, delivered with relish by the ever-tasteful Verhoeven and Bacon as the genius-turned-loonytoon-maniac. As with much of Verhoeven's work it has a terrific unrestrained sense of Boy's-Own comic-book adventure (the secret underground lab where the scientists work is just wonderful) combined with the most horrific and depraved visuals (women in their underwear being groped and attacked by an invisible fiend, animals beaten to death, literally gallons of blood and wholesale slaughter in the last two reels). Whilst the story doesn't ring any new twists on an old idea, the CG special effects by Scott E. Anderson are eye-poppingly brilliant as we see veins and arteries, cardiovascular systems, muscles, tissue, bones and flesh all literally appear out of nowhere. In particular, a sequence where the team bring a gorilla back from the invisible state and the scene where Bacon drowns Devane in a swimming pool, are absolutely breathtaking in the detail and artistic invention of the effects. The film also has a great soundtrack by Jerry Goldsmith and classic horror-movie photography by Jost Vacano. The young cast are pretty much overshadowed by the movie's technical pedigree, but both Shue and Dickens are impressively out of their depth. This is a great fun nasty movie.", "label": 1, "domain": "movie_review", "token_count": 329, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0456", "text": "This is an evocative and idealized portrait of the early life of Lincoln(born 1809 Hodgensville-Kentucky- and died in Washington 1865). Ford's excellent movie takes Abraham Lincoln(Fonda) from his youth. He studied laws, common law and began practice as lawyer in 1837.This Hollywood biography follows Lincoln from his log-cabin days, initial relationship to Mary Todd(Weaver), following the couple from their first ball,and his departure for congress candidate. But focuses mainly on a brothers(Richard Cromwell,Eddie Quillan) accused for murder, the posterior trial with amusing court debate scenes and the protection for their mum(Alice Brady). The Lincoln-Fonda as defender advocate and Donald Meek-prosecutor are nothing short of brilliant. Excellent performance from Henry Fonda as idealistic,traveller Springfield solicitor , he was to star regularly for Ford from this movie, as ¨Grapes of wrath,My darling Clementine, and Fort Apache¨. Besides sterling acting by Alice Brady as grieved mother, she was a great actress from the silent cinema, but this one results to be her last movie because she early died from cancer.The Lincoln's deeds developing make for skilfully appealing entertaining.His portrayal shows a nostalgic longing for things past and old values and describes his goodness,uprightness and willful. Lincoln, like John Ford, was a straightforward man who never varied the ideals of his youth.This American masterpiece is correct on both counts, as splendid biography and as magnificent drama. Another biographies about Abraham Lincoln are the following: 1) ¨Abraham Lincoln¨(1930) by D.W.Griffith with Walter Huston, Una Merkel, talking from his birth until his assassination; 2) ¨Abe Lincoln in Illinois¨(1940)by John Cromwell with Raymond Massey, Ruth Gordon, concerning similar events to Ford's film through his career as lawyer 3)TV version titled ¨Gore Vidal's Lincoln¨ with Sam Waterston and Mary Tyler Moore as Mary Todd.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0457", "text": "Across the country and especially in the political landscape, people with any kind of political ambition, should take time out to see this film. The movie is called \" City Hall \" and with little imagination, its synopsis can take place anywhere in America. It just so happens to open in New York. Here we have the story of a popular politician named Mayor John Pappas (Al Pacino) with enough savvy to run a major metropolitan city with very little effort. His right-hand man is none other than Deputy Mayor Kevin Calhoun (John Cusack) an equally bright individual who's ambitions are tied to his mentor and both seemed destined for higher office. Everything points in that direction, until a police shooting ignites an investigation spearheaded by Marybeth Cogan (Bridget Fonda) who believes the guilt points towards city hall and the mayor. A six year old boy and a police officer's death are blamed on a career criminal who's questionable freedom leads to an apparent cover-up by political pay-offs and city corruption involving union leaders like Danny Aiello played by Frank Anselmo, corrupt judicial officials like Judge Walter Stern. (Martin Landau) and mafia bosses like Paul Zapatti (Anthony Franciosa) who are deeply involved. Also implicated, are party officials like Larry Schwartz (Richard Schiff) who works for the probation office of New York. But it is the bond between the mayor and his deputy which is taken to task by the accidental shooting. A great vehicle for Cusack and a sure bet nominee to become a classic. ****", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0458", "text": "Yes, I call this a perfect movie. Not one boring second, a fantastic cast of mostly little known actresses and actors, a great array of characters who are all well defined and who all have understandable motives I could sympathize with, perfect lighting, crisp black and white photography, a fitting soundtrack, an intelligent and harmonious set design and a story that is engaging and works. It's one of those prime quality pictures on which all the pride of Hollywood should rest, the mark everyone should endeavor to reach. Barbara Stanwyck is simply stunning. There was nothing this actress couldn't do, and she always went easy on the melodramatic side. No hysterical outbursts with this lady - I always thought she was a better actress than screen goddesses like Bette Davis or Joan Crawford, and this movie confirmed my opinion. Always as tough as nails and at the same time conveying true sentiments. It is fair to add that she also got many good parts during her long career, and this one is by far the least interesting. The title fits this movie very well. It is about desires, human desires I think everyone can understand. Actually, no one seems to be scheming in this movie, all characters act on impulse, everybody wants to be happy without hurting anybody else. The sad fact that this more often than not leads to complications makes for the dramatic content into which I will not go here. I liked what this movie has to say about youth, about maturing and about the necessity to compromise. The movie I associate most with this one is Alfred Hitchcock's Shadow of a Doubt, it creates a similar atmosphere of idealized and at the same time caricatured Small Town America. The story has a certain similarity with Fritz Lang's considerably harsher movie Clash by Night, made one year earlier, where Stanywck stars in a similar part. I can also recommend it.", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0459", "text": "This is an awesome action film with great one liners from Arnie!. It's stylishly made, with lots of tense action to keep one satisfied. The Characters were awesome, and Richard Dawson, is very menacing as the main villain. Yes it has tons of plot holes,however it's highly highly entertaining, with a great ending as well. It had a great story, too it, and Arnie and Maria Conchita Alonso had great chemistry together. The Character development was also pretty good, with, some superb performances. The Directing is great!. Paul Michael Glaser, does a very good job here, with awesome use of colors, keeping it stylish throughout, awesome camera angles, and overall keeping the film at a very fast pace! good job. There is a little bit of gore. We get a few bloody gunshot wounds, exploding head, slit throat, bloody chainsaw slices, skinless corpses, blood, and an impaling. The Acting is great!. Arnold Schwarzenegger is AMAZING as always, he is excellent in the acting department , has tons of hilarious one liners, kicks that ass, and as always is a big physical presence!, and was tons of fun to watch! (Arnie Rules!). Maria Conchita Alonso, does well here, she was really cute, and had good chemistry with Arnie!. Yaphet Kotto, is decent here, with what he has to do, which is not much. Marvin J. McIntyre, is good as the geeky type guy, he was cool!. Richard Dawson is awesome as the main villain, and was very very menacing, and he was fun to watch. Jesse Ventura,Jim Brown,Erland van Lidth,Gus Rethwisch,and Professor Toru Tanaka, all do what they have to do very well as the stalkers. Overall a MUST see! ****1/2 out of 5", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0460", "text": "I watch a lot of films, good, bad and indifferent; there is usually something of interest to fixate upon, even if it is only set design, or the reliable labor of a good character actor, or the fortuitous laughter that emerges from watching ineptitude captured forever. However, I was quite pleasantly surprised by this film, one I had never seen before. Graham Greene has been translated into film many times of course, in such masterpieces as \"Thin Man\" and in lesser vehicles. \"Confidential Agent\" is one of those lesser vehicles, yet it manages to get me somewhere anyway, despite lackluster direction, the incongruity of Bacall and Boyer's depictions as (respectively) British and Spanish, and the almost complete non-existence of any chemistry between the two leads. In some ways, this last \"problem\" actually begins to work in the film's favor, for how can love really blossom in the killing atmosphere of fascism and capitalism meeting about one person's tragedy? The most compelling aspect of the film arises directly from Greene's complex and guilt-ridden psychology, which pervades the film. I know some see the deliberate pacing here as dull, and I can understand that. Yet I found that plodding accentuated rather than detracted from what is a claustrophobic world. I was compelled to watch, not by any great acting (although Boyer is marvelous as usual, managing to convey a rich mixture of world-weariness, tragedy, hope, and fervor with his magnificent voice and yearning eyes), but by the down-spiraling rush of one man's slim hopes against a world of oppression and money. What is a thief? What good is love in the face of death? Where does mere profit-taking end and exploitation begin? The film does not rise to the level of art, and thus cannot hope to answer such questions, but it is much more than mere entertainment, and its murders and guilts are very grimly drawn. The lack of glitz, of \"bubble,\" of narrative \"bounce\" help to make this movie very worthwhile. And there is no happy ending, for history wrote the ending.", "label": 1, "domain": "movie_review", "token_count": 444, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0461", "text": "I'm sure that not many people outside of Australia have ever heard of the legend of Ned Kelly. I once saw a documentary about the man, but that's the only time I once saw or heard anything about him. And I guess that this might be the biggest problem this movie will have to face. No-one knows anything about it and probably not many people will care about the subject. The movie tells the story of Ned Kelly's life. The Irish immigrant has lived in north-west Victoria all his life, but has never been very welcome by the authorities. The police always accuses him of everything they can think of and they keep harassing his family. When Kelly is fed up with the way everything goes, he forms a gang with his brother and two other men. They start robbing banks and even hijack an entire town for 3 days. All this violence leads to a man hunt organized by the police and when they kill three policemen, they are outlawed. Finally they take over a pub in Glenrowan, where they have a party with all the visitors, waiting for a train full of police to derail at a part of the track that they tore up. But the train is able to stop in time because someone warns them and what will follow is a battle on life and death between the police and the four gunmen... It's very hard to tell whether all of what is shown in the movie is true or false. I guess nobody really knows, because there will always be two camps who will each tell their own truth: one camp says he was a hero, some kind of Robin Hood, the others will say he was an ordinary criminal, a murderer and a thief. I really couldn't tell you which of them is right, perhaps both are, but what I can tell you is that the facts in the movie as well as is the documentary were about the same. This movie was a nice addition to the documentary I once saw and I really enjoyed the performances of all the actors. Heath Ledger, Orlando Bloom, Naomi Watts, Geoffrey Rush are all actors who are pretty well known, but even the lesser known actors show in this production that they all know what good acting should look like. I really enjoyed this movie and I give it a 7.5/10", "label": 1, "domain": "movie_review", "token_count": 458, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0462", "text": "David Zucker has directed one of the most enjoyable comedies of the year with this goofy farce. Yes, it's a matter of acquired taste and depends upon a wealth of sophomoric gags, but it is consistently funny throughout unlike some recent comedic efforts. The film is loaded with all kinds of jokes ranging from the blatantly obvious to the more subtler kind that you must pay attention to everything in the frame or you'll likely miss them. Like his previous efforts which include \"Airplane!\", \"Top Secret!\", and \"Naked Gun,\" the humor flies out almost every second. There are so many moments that work, it's easy to overlook the few that fall flat. What sets this movie apart from other pale imitations in the spoof genre is that it has an actual story line. While others have depended upon making fun of too many famous scenes in almost random movies (take \"Mafia!\", please), this film tells a new story with likable characters. It touches upon sports films in general as well as satirizing the real sports industry instead of lampooning any specific movies. Even for people who don't care for \"South Park,\" its creators, Matt Stone and Trey Parker, make a good pair of leading actors with natural chemistry. The film also makes extremely effective use of cameos of athletes, sports announcers, and other celebrities, especially a hilarious bit with Robert Stack of \"Unsolved Mysteries.\" By the way, stay through the credits for a final joke with Bob Costas and Al Michaels. All in all, Zucker has achieved, in words perhaps applying to the movie's mix of sports, a home dunk.", "label": 1, "domain": "movie_review", "token_count": 333, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0463", "text": "as a habit i always like to read through the 'hated it' reviews of any given movie. especially one that i'd want to comment on. and it's not so much a point-counterpoint sorta deal; i just like to see what people say on the flipside. however, i do want to address one thing. many people that hated it called it, to paraphrase, 'beautiful, but shallow,' some even going so far as to say that norm's desire yet inability to help his brother was a mundane plot, at best. i'd like to disagree. as a brother of a sibling who has a similar dysfunction, i can relate. daily, you see them abuse themselves, knowing only that their current path will inevitably lead them to self-destruction. and it's not about the specifics of what they did when; how or why paul decided to take up gambling and associating with questionable folks; it's really more how they are wired. on one hand, they are veritable geniuses, and on the other, painfully self-destructive (it's a lot like people like howard hughes — the same forces which drive them are the same forces which tear them apart) and all the while you see this, you know this, and what's worse, you realize you can't do a damn thing about it. for norman maclean, a river runs through it was probably a way to find an answer to why the tragedy had to occur, and who was to blame. in the end, no one is, and often, there is no why. but it takes a great deal of personal anguish to truly come to this realization. sometimes it takes a lifetime. and sometimes it never comes at all.", "label": 1, "domain": "movie_review", "token_count": 354, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0464", "text": "Well let me just say something about these actors, they really were a good decision, and from experience, having actors really brings the dialogue to life. If you walk into this even fifteen minutes late, you'll be in for a shock, the movie will have already began. You don't want to miss the first few jokes, assuming you came to not miss any jokes. Wow! I have never seen a movie that ended with such a final ending. Not to be harsh, I mean I loved it, but it just surprised me that it really kept going until it stopped! But i'm getting ahead of myself, lets start with the very start of it, when it began. The plot outline goes like this, there is this man, and not to give away any spoilers, (*Spoiler Alert!!*) (he hasn't had any sex ever(!) they use this plot device to set the story moving, and there are (intentionally or not, it could go either way) some funny situations had by the main characters, some containing irony, and jokes, and awkward situations, you know. The director uses the advancements in technology by combining the film shot on the set and scripted dialog, some music, and jokes to make a funny movie, designed as a comedy, where he takes us on a journey from the opening credits to the end with an entirely full movie in between. I went into this movie expecting to see a funny comedy because of what I already knew about it, and left feeling as though i had just left a theater that just played a funny comedy. TEN STARS!!!", "label": 1, "domain": "movie_review", "token_count": 321, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0465", "text": "My Take: A funny take on THE LION KING, posing as a sequel. Surprisingly amusing. Surprisingly, \"Lion King 1 1/2\" is actually another funny straight-to-video, that's worth a theatrical treatment. I don't see why Disney released this straight to video, and release crappy movies like \"Chicken Little\" and \"Return to Neverland\" theatrically. Those movies are better off seen in the video stores (in the \"new releases\" area), rather than seeing their theatrical posters outside the theaters. This one is merely a spoof of the first film (although the events in \"Simba's Pride\" hasn't taken place yet), on Timon (voiced by Nathan Lane) and Pumbaa's (voiced by Ernie Sabella) point of view. We get to see them make fun of the events in the first film. Original voices from the first film, like Matthew Broderick, Woopie Goldberg, Cheeche Martin and Robert Guillaume, return to their voicing roles from the first film, while Julie Kavner and Jerry Stiller give some hilarious comedy relief as Timon's mom and grumpy uncle. So doesn't this sound fun. Maybe not now, but go watch it for yourself. The fact that it's not that serious in its plot makes it the more enjoyable. It's kinda like MST3000 with Timon and Pumbaa. Video movie rating: ***1/2 out of 5.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0466", "text": "I think this movie was probably a lot more powerful when it first debuted in 1943, though nowadays it seems a bit too preachy and static to elevate it to greatness. The film is set in 1940--just before the entry of the US into the war. Paul Lukas plays the very earnest and decent head of his family. He's a German who has spent seven years fighting the Nazis and avoiding capture. Bette Davis is his very understanding and long-suffering wife who has managed to educate and raise the children without him from time to time. As the film begins, they are crossing the border from Mexico to the USA and for the first time in years, they are going to relax and stop running. The problem for me was that the family was too perfect and too decent--making them seem like obvious positive propaganda instead of a real family suffering through real problems. While this had a very noble goal at the time, it just seems phony today. In particular, the incredibly odd and extremely scripted dialog used by the children just didn't ring true. It sounded more like anti-Fascism speeches than the voices of real children. They were as a result extremely annoying--particularly the littlest one who came off, at times, as a brat. About the only ones who sounded real were Bette Davis and her extended American family as well as the scumbag Romanian living with them (though he had no discernible accent). It's really tough to believe that the ultra-famous Dashiel Hammett wrote this dialog, as it just doesn't sound true to life. The story was based on the play by his lover, Lillian Hellman. And, the basic story idea and plot is good,...but the dialog is just bad at times. Overall, an interesting curio and a film with some excellent moments,...but that's really about all.", "label": 1, "domain": "movie_review", "token_count": 380, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0467", "text": "If you were born around the time this movie was finished, and had a liberal/open minded household that I had, I'm sure during the early 80's you'd be first introduced to walking in on your parents watching dirty movies or extreme dirty movies. You know, not 100% pornographic but rather an alchemical mixture of actual drama and pornography, or that you'd sneak into their collection and pop in the plastic rectangle representation of such a film in a big dookie machine called a VHS. You had to be very quiet and ninja like but still having minor heart failure when huge pop noises were made when pressing the tablet-like buttons out of fear of being discovered. Whatever the case, such films were sent into the back of your mind, waiting and waiting to be reunited with such visual \"art\". Needless to say, this movie fits into the aforementioned description to a \"T\". Many people will comment on the extreme sexual nature of the film but perhaps due to me being desensitized, I am more disturbed by the subtleties. Was the creator speaking to us on deeper levels of human carnality and or what could be considered a true abomination, interracial relations, bed frame masturbation, voyeurism, or could it be desperation for social status to the point of murder, pedophilia/homosexuality, or the repressed sexual nature of social elitist females in 18th century France? Who can say, but despite Mr. Borowcyzk's taste for vivid, raw sexuality being the \"norm\" for his works, I'd say that indeed this movie does speak to the viewer on a deeper level concerning bestial carnality. Once I have learned this, the story became much more interesting beyond the giddiness of shock value and there fore, it is well worth checking out.", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0468", "text": "Famous movies are subject to Freudian analysis: Possessed, The Matrix, The Birds, Psycho, Vertigo, Duck Soup, Monkey Business, The Exorcist, The Testament of Dr Mabuse, Alien, Alien Resurrection, The Great Dictator, City Lights, The Tramp, Alice in Wonderland, The Wizard of Oz, Dr Strangelove, The Red Shoes, Fight Club, Dead of Night, The Conversation, Blue Velvet, Solaris, Stalker, Mulholland Drive, Lost Highway, Persona, In The Cut, Eyes Wide Shut, The Piano Teacher, Three Colours: Blue, Dogville, Frankenstein, The Ten Commandments, Saboteur, Rear Window, To Catch a Thief, North by Northwest, Star Wars, Dune, Kubanskie Kazaki, Ivan The Terrible, Pluto's Judgment Day (Walt Disney), Wild at Heart. You may wonder how the Marx Brothers come into play. According To Slavoj Zizek, the host and analyst of this intellectually tickling tour de force, Groucho is the superego, Chico the ego, and Harpo the id. Scenes from the above listed films are used to illustrate concepts: the role of fantasy in shaping reality and vice-versa, the father figure, male and female libido, death drive, etc. Here are some of Slavoj utterances (most as paraphrases): \"desire is a wound on reality\", \"fantasy realized is a nightmare\", \"music is the opium of the people\" (borrowing from K. Marx), \"of all human emotions, anxiety is the only one that is not deceiving\". The whole is bracketed by an intro that declares \"you don't look for your desires in movies, instead cinema tells you what you should desire\" and concludes with the cineaste view that \"cinema is needed today so that we can understand our current reality\" -- I say, as long as censorship doesn't derail it. The three part subdivision is merely mechanical, possibly with TV screening in mind. For the theater goer it is irrelevant.", "label": 1, "domain": "movie_review", "token_count": 429, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0469", "text": "Lisa Baumer (Ida Galli) is the adulteress wife of a big businessman who inherits $1million life insurance when her husband is killed in a plane crash while on a business trip .initially she is suspected of being responsible as her husbands will had recently been changed and so she has an insurance investigator Peter Lynch (George Hilton)and an Interpol agent on her tail just to be sure. Baumer travels to Athens, Greece to cash in her inheritance, but insists on having it in cash...a dangerous turn of events. Lynch who's identity is now known to Baumer tries to protect her against a lover of her husband Lara Florakis who nevertheless along with her henchman Sharif tries to kill them both for a share of the money that she deems she is entitled to. And this is where our Masked killer starts his/her brutal killings. Lynch as is customary with our hero is at first suspected by the Greek Police and is warned not to leave Athens by Police Inspector Stavros(Luigi Pistilli a familiar face in Giallo and Spaghettis). Lynch is then aided by the gorgeous Cléo Dupont (Anita Strindberg) a local journalist who helps him investigate the killings.To say any more could ruin the film for anyone who has not seen it, so suffice to say there are enough red herrings and most of them plausible to keep Mystery/Thriller fans happy in this story driven Giallo.The No Shame DVD has a superb transfer with both English and Italian soundtrack. It also has a very catchy score just for good measure by Bruno Nicolai that will stay in your head for a while....all in all a first rate Giallo.", "label": 1, "domain": "movie_review", "token_count": 346, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0470", "text": "This is an interesting little flick made in 1967, with cool jazzy twangy soundtrack music and a plot that will make you laugh...OK, it's not really stupid but it's cheesy fun. I saw many similarities between this and 'Creature with the Blue Hand' (AKA The Bloody Dead) and they do have the same director! Scotland Yard's finest is investigating the murders of young ladies at a college. Seems that criminals are being let loose from a local prison to do the bidding of some evil person and then returned when their work is done. There's a nifty device hidden inside a bible that squirts prussic acid, and there's another device that is neither nifty nor clandestine, it looks like a large squirt gun and the victim must be pretty near soaked before they expire. Joachim Fuchsberger plays an Inspector and he mostly chews gum and looks off into the distance. There's a \"monk\", and how anyone identifies this thing as a \"monk\" is beyond me, it carries a whip and dresses in a red outfit with a red hood, more of a Klan member of a different color than a monk. There's all kinds of nifty devices like a fireplace hearth that goes up and down to admit the monk, and it steps right over the fire without setting his robe alight, a nifty trick right there. This is an odd combo of crime drama with goofy overtones, and while it's rather silly at times it is fun to watch. 7 out of 10, not bad....", "label": 1, "domain": "movie_review", "token_count": 320, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0471", "text": "2005 Toronto Film Festival Report It is official; \"Takashi Miike\" is whacked. The annual midnight screening of the new \"Takashi Miike\" film, \"The Big Spook War\" or \"The Great Yokai War\" or \"Yôkai daisensô\". Call it what you will this is a fanatical ride. Colin Geddes, the fearless programmer stated this film was originally geared towards children in Japan. Think of \"Lord of the Rings\" or \"Neverending Story\" for Japan. After the screening I can understand where they were going with that, but damn this is \"Takashi Miike\" after all. He directed the '01 film \"Ichi the Killer\", when it screening at the festival barf bags were handed out at the screening. And no, that wasn't just a marketing ploy. Plot Summary: A young boy with a troubled home life becomes \"chosen,\" and he stumbles into the middle of a Great Spirit war, where he meets a group of friendly spirits who become his companions through his journey. This is not really for kids, well not 'too' young. Certainly see them getting scared shitless with some of these spirits (even the friendly ones) on display. This is unlike anything I've seen in the movie theater before. A fantasy naturally, some very funny (but dark) material. You will not be bored can guarantee that. Will this ever hit North America? Doubtful. My rating = B", "label": 1, "domain": "movie_review", "token_count": 303, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0472", "text": "I must have been only 11 when Mr Peepers started. It was a must see for the whole family, I believe on Sun. nights. Repeating gags were Rob opening his locker (he had to use a yardstick or pointer to gage the right spot on another locker and do some other things, finally kicking the spot whereupon his door would open), and taking pins out of a new shirt(at the start of an episode he would open up a package with a new dress shirt and for the rest of the show be finding one pin after another that he missed when unwrapping the shirt, timing was everything and the pins got lots of laughs.) I remember an aunt that drove a Rio like Jack Benny and always wanted \"Sonny\" to Say something scientific. He would think and come up with \"semi permeable membrane\" or osmosis causing her to say how brilliant he was. (you had to have been there). Marion Lorne stole the show every time she was on screen. Why they didn't continue the series from her POV when Wally quit (he was afraid he was being typecast but by then it was way too late)I'll never know. I saw somewhere that the 1st TV wedding (big one anyway) was Tiny Tim on the Carson show. Horsecocky. It was Rob and Nancy (did I ever have the hots for her) and I remember it made the cover of TV Guide and got press in all the papers and major magazines. A trip to the Museum of Broadcasting in NYC years ago was disappointing in that they had very few episodes then and those might be gone now. I still remember it as wonderful and wish I had been a little older.", "label": 1, "domain": "movie_review", "token_count": 349, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0473", "text": "This is still the benchmark to judge all Golden Age whodunnits by, and taking into account the limited technology and dubious ethical standards of the authorities (on screen) bears up well against all generations of similar attempts since on film and TV. Fast and furious with plenty of Warner Bros wipes, and thankfully no time for a love interest it gallops along, taking the splendid cast with it to the violent end. I never understood why the DA had to trail Vance around everywhere, I always thought they were deskbound. Palette as the detective but especially Girardot as the doctor are delightfully eccentric and un-PC - when glancing over the second murder victim he sniffs that there were too many people in the world anyway. Of course it is William Powell as Philo Vance (and Michael Curtiz as director) that makes the film what it is - when did Powell ever make a dud? The army of cops at the crime scene didn't really do a very good job in finding the second dead body and unconscious dog did they! The best bit is where Vance narrates to us all the sequence of events surrounding the murders - dodgy model sets combine with fantastic roving camera angles to produce a very modern feel, and startling with what has gone before. The only problem is as usual the conclusion can't match the overall deductive processes displayed throughout and a somewhat contrived ending is invoked; some Chan's, Moto's and many others of course could only be concluded this way too. But because it happens so fast and is ... slightly dubious morally it doesn't lessen my opinion of KMC's status as a classic! All the prints I've ever seen of KMC are (at worst) like looking into a goldfish bowl, so if you're interested in seeing it bear with it until you're sucked in.", "label": 1, "domain": "movie_review", "token_count": 368, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0474", "text": "VIVAH is in my book THE BEST MOVIE OF 2006 ! PERIOD !!. In my book it is one of the best 100 movies EVER MADE IN Bollywood. Its sad that this movie doesn't have that many reviews and isn't having that much popularity. VIVAH is once again a true achievement from a director who DOES it again. After HAHK and Maine Pyar Kiya Sooraj has once again pulled off a brilliant one VIVAH. This is the most simple and cute movies that I've seen this year. After seeing Don 2 which was CRAP and later Dhoom 2 which even beat Don in that matter, I finally see a movie which is so close to my heart and my culture. I don't know why Bollywood is moving away from the beautiful culture which we have and are making Hollywood remake style crap movies like Dhoom 2 and don. The story is beautiful and relates much to the Indian system of Arranged marriage which I too would like to be a part of. Our system which teaches us to obey elders, follow them and of course obey their thoughts is so brilliantly shown in this movie!. Of course there isn't any force in choosing your life partner and it should be a brief meeting between the couple and its up to them to decide as it is brilliantly shown in this movie. Coming back to the movie.....VIVAH is a story of Journey between the beautiful period of Engagement and marriage. The phase where the guy meets the girl !....Both understand each other ..Both try to assess if they could love each other for Seven generations (as our system says) and the various which occur during marriages. Amrita Rao is brilliant in the movie.......Shahid is OK.....and Alok Nath and Anupam Kher are awesome !! The songs are BRILLIANT. ! I especially like the HAMARI SHAADI MAIN HAFTE REH GYE CHAAR and Do Anjaane Ajnabi ...... Overall A MUST SEE for anyone who still believes in the Indian culture and tradition and I certainly do !. Go see this movie......I just have to say one word....... BLISS !.", "label": 1, "domain": "movie_review", "token_count": 442, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0475", "text": "What a moving film. I have a dear friend who is in her sixties and for the past 15 years has told me that people don't see her anymore, and she longs for companionship. Being in my late 40s I am beginning to see what she has been complaining about. You are no longer youthful, beautiful or touchable. When May says \"...this lump of a body...\" wow. How our bodies change and how we are told it is no longer beautiful. I love when she begins to change what she wears...the colorful scarf...no longer the frumpy wife. It is a sad and wonderful picture at the same time. Sad in that May betrays her daughter's trust...beautiful in that she finds herself through the difficulty of the affair, and chooses to move on and finally have her own life. I love the character's daring to even initiate the love affair. Mostly I love the movie because finally it is a picture that shows the intricate nature of relationships, be they familial or not. We see Paula's vulnerability, yet she will have what she wants at all costs...(when she tells her mum that she will have a baby for Darren whether he wants one or not after her mother asks if Darren even wants a child). The movie hits the mark on the how relationships can change, and yet reveals what has been there all along, dormant. May has stifled her own creativity to raise a family. A family that she didn't really want, but was \"something you just did when she was young\". I love the scene when Darren calls her an old tart, and she smiles and says \"I was never called that before\". It was truly a gem of a movie. And Daniel Craig. Well, i just love him. I was pleasantly surprised. Not only is he pleasant on the eyes, he is a real talent. What a neat role. He is much more than any 007 that is for sure and I look forward to seeing him in more roles of this nature. The scene where he is pleasuring May and the look he gives her is sort of a look of wonder that he has such control over this woman, and also one of pleasure of being able to give this to her. He is actually enjoying giving her pleasure. A wonderful scene. The contrast is the love scene with Bruce. Bruce is totally absorbed with his own pleasure...two completely different men. Alas...I wonder where is my Darren?", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0476", "text": "From the excellent acting of an extremely impressive cast, to the intelligently written (and very quotable) script, from the lavish cinematography to the beautiful music score by Carter Burwell, Rob Roy offers a rarity in movie going experiences: one that is nigh impossible to find fault with in any area. There have been several comparisons made with Braveheart, which came out the same year. With all due credit to Mel Gibson, Braveheart struck me as too much of a self-conscious and preachy epic to rival Rob Roy as the kind of movie I would care to see more than once. While Braveheart works hard to be a serious epic, Rob Roy just grabs you and absorbs you into its tightly edited storytelling. Not a single scene is wasted. Rob Roy contains the perfect balance of dramatic tension, action and even occasional humor. The characters are well fleshed-out, perfectly conveying vernacular and mannerisms that anchor them in their authentic period setting. Further, they are not caricatures of good and evil as we all too often observe in even modern film. For example, while we hope the heroic Rob Roy prevails, we realize his predicaments are products of his own pride and sense of honor. Tim Roth plays one of the most hateful bad guys in the history of cinema, yet there are moments when we can understand how the events of his life have shaped him into becoming what he is. Rob Roy employs a level of character development that makes its story even more believable and gripping. Rob Roy is a delightful treasure, featuring one of the greatest sword fights ever choreographed and a climatic ending worthy of all the tense anticipation.", "label": 1, "domain": "movie_review", "token_count": 329, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0477", "text": "but I want to say I cannot agree more with Moira. What a wonderful film. I was thinking about it just this morning, wanting to give advice to some dopey sod who'd lost money on his debit card through fraud, and wanted to say 'Keep thy money in thine pocket' and realised I was talking like James Mason. Even tho he didn't say those words, I still think he would! I've never forgotten 'Are ye carrying?' in his reconciliation with his son, Hywel Bennet: 'Always have money in thine pocket!' Good advice. Not enough kids have fathers with such unforgiving but well-meant attitudes any more. Or any father at all. It would be a good thing for us to reinstate 'thee', 'thy' and 'thine' in our language to show we care. It is only the same as 'tutoyer' in French or 'du' in German. Addendum: I just realised that a lot of my remarks were about James Mason in The Family Way! I think it's because I mixed up Susan George with Hayley Mills. Well, easy mistake. I stand by the comments tho'. And Spring and Port Wine is so very similar to The Family Way. When you took a girlfriend to the pictures in those days, you really had something to say and talk about afterwards, something that affected your knowledge of the world and your personal development. Theatrical experiences are almost real, and they are important in helping young people to grow up. It doesn't happen now, I think, that teenagers can just go to the pics like we did.", "label": 1, "domain": "movie_review", "token_count": 331, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0478", "text": "Two sailors are on leave--ladies man Joseph Brady (Gene Kelly) and shy innocent Clarence Doolittle (Frank Sinatra). They meet beautiful Susan Abbott (Kathryn Grayson) and both fall in love with her. There's more but you've probably guessed it. The story (even for a 1940s musical) is ridiculous and everything is so nice and wholesome--gets annoying pretty quick. Also this movie is far too long. It's 140 minutes and that's way too much for such a silly story. There are also some boring numbers by Jose Iturbi and his orchestra. Still this is worth catching. When Kelly is dancing or Sinatra or Grayson are singing this becomes magical. None of the songs are particularly memorable but Sinatra had such a beautiful voice you won't care. It's shot in rich Technicolor with all the gloss MGM had. The acting is OK--Kelly is fine (although seeing him as a ladies man is pushing it) and Sinatra is just great (although seeing HIM as a shy guy was pushing it too!). Grayson is given nothing to do but she's incredibly beautiful to look at. Some shots of her literally took my breath away! There are plenty of highlights here: Sinatra and Kelly's big dancing and singing number; Sinatra singing anything; Grayson's two songs and the justly famous animated sequence in which Kelly dances with Jerry--an animated mouse! Tom does a funny cameo too. Also there's little Dean Stockwell who steals every scene he's in. So it's too long and the plot just doesn't hold up but it's still worth catching. This was a huge hit in its day.", "label": 1, "domain": "movie_review", "token_count": 336, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0479", "text": "Perhaps it's me and my perverted ways, or the fact that I tend to have a very sick mind, but I rented this film at random one very weird night and to my great surprise, I enjoyed it. Yes, I read the synopsis on the back of the DVD box and read that it had been banned for 25 years and figured I was prepared for anything it would offer. I was clearly deceived after seeing...well...everything, to cut a long story short. I can see why it was banned, not only for such explicit sex scenes, but for beastiality. Of course, as it is freely based on the classic fairy tale of Beauty and the Beast, a personal favorite of mine, it tells the story of a girl's sexual awakening over a dream about a duchess being chased by a whatever-the-hell-that-thing-was-like beast with an enormous erection and a substantial amount of ejaculation. Of course, the beast gets what he wants and the duchess decides she likes it and they continue frolicking in the woods. But that's not all. Oh, there is so much more! Not only do we get to see interspecial sex, but there's also humping horses, the babysitter who gets down and dirty with the slave when she's not humping the bed to get her...er...satisfaction and the daydreaming girl masturbating with rose petals. Creative and enjoyable, but it did take a while for my father to talk to me again after he watched it after I went to bed...I was 15. Words of advice when watching this film: make sure you're the only one who knows you have it and watch it with the curtains closed. It may be fun, but I doubt there are other porn films like this one.", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0480", "text": "How truly friendly, charming and cordial is this unpretentious old serial; I rejoiced in seeing old Lugosi. It is disarmingly friendly and lively. It's the document of a long—lost craft. (The best TV series today can hardly compete with these old moderately good serials.) CHANDU is deeply, deeply optimistic and hedonistic . It refreshes the mind. It's not stupid; stupid are those who do not get the terms on which such serials work. CHANDU has an irresistible sense of simple, unpretentious and friendly fun. Without giving away too much—Chandu is an Occidental sorcerer who goes also by this Eastern name and who also loves and protects his niece against a sect of killers. Chandu exerts his supernatural gifts in a rather discreet and moderate way. As to the quite sexy niece, Nadji, she is kidnapped by the priest of Ubasti: the sordid Vindhyan. The poor sexy girl is in fact multiply kidnapped—in a sarcophagus after being sent asleep with a flower; almost kidnapped from a boat; by a phony policeman; the temple of Lemuria and its strange, creepy ceremonies resemble the KING KONG imagery—and are a barbaric mockery of the RCC ceremonies and rituals. Would you protect a girl as bravely as Chandu does? Lugosi looked like an old libidinous and quite heartless, mean drunk, and this only contributed to his performances. He is the prototypical mean drunk uncle, mischievous and cunning and oblique. This might sound like a rather crooked homage to Lugosi—yet Burton's biopic of Wood left me this impression about Lugosi and allied to it a strong sympathy for the decrepit actor. I enjoy Lugosi' fancy performances. This serial is unjustly bashed.", "label": 1, "domain": "movie_review", "token_count": 375, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0481", "text": "please, future writers, producers, directors - learn from this movie! never before have i seen such a bold and original tale created for the big movie screen. bold, because the script constantly made a step so many fantasy movies safely avoided - a step to something new, creative and daring. just when you think 'oh, i've seen this before' or 'i am sure this is what will happen now' - StarDust would make an unexpected twist and involve you more and more into the story. the actors are great - even the smallest part is performed with such talent it fills me with awe for the creators of this movie. Robert De Niro is gorgeous and performs with such energy that he simply steals the show in each scene he's in. Michelle Pfeiffer is the perfect witch, and Claire Danes a wonderful choice for the innocent and loving 'star', Yvaine. Other big names make outstanding roles. I had the filling everyone is trying to give his best for this movie. But once again, the story by Neil Gaiman, all the little things he 'invented' for this universe - simply outstanding. I watched this movie at a pre-screening today, a day before the official release, and do hope it will have huge success. There is so much humor, but also tense moments as well as lovely tender scenes. The look in the eyes of Yvaine, the 'frivolities' of Captain Shakespeare, the passion of Lamia the witch - impressive, unforgettable For me this is the number one entertaining movie of 2007, watch it and enjoy it 11/10 - Outstanding peace and love", "label": 1, "domain": "movie_review", "token_count": 333, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0482", "text": "With rapid intercutting of scenes of insane people in an asylum, and montage/superimposition of images, and vague, interwoven narratives, this is a very hard movie to follow. Apparently a man (Masue Inoue) takes a job as a porter or janitor in an asylum so he can be near his imprisoned wife, and maybe to rescue her. But she's clearly mad, huddled on the floor, with a vacant expression much of the time and fear, misery, and confusion written on her face the rest of the time. The film-maker switches to her point of view sometimes, and we see vague images of her at the side of a pond drowning a baby, or clutching at a drowned child. She's tormented by something. When the point of view shifts to her or other mad folks, the filmmaker uses distorting lenses and such things, showing us what mad people see and then how they react. And the place is swarming with mad folks, laughing, hiding, and in one case dancing frenetically night and day. At one point the man tries to take his wife outside, but the night outside the door terrifies her and she runs back to her cell. Gradually the man slips into a nightmare in which he's interrupted in another attempt to steal her away, and he kills the doctor and many attendants, and all the while the mad folk laugh and applaud. When he wakes he is relieved, and mops the floor. Some fascinating shots of Japanes life, streets, buildings in the 1920s.", "label": 1, "domain": "movie_review", "token_count": 319, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0483", "text": "This movie might not put the Catholic church in the best light but it is telling a story based on true events. Unfortunately not everything in life, including religion, are all nice and rosy. Sometimes people and groups do things that at the time seem like the right thing but in retrospective do not look as great as they once did. \"A Love Divided\" tells the story of a family, yes it does incorporate religion, but really the story is about a family, and that family's ability to stay together no matter what is thrown at them. This film is also based on true events which is not to say that this story, scene by scene, is true, but if you were to look at news articles from that time period you would be able to see that neither churches handled the incident in a way that was helpful towards the family. Both churches are at fault here, the Catholic church for forcing such a regulation on the family in the first place and not responding to the violence that came with it and the Protestant church for telling the mother that she should just obey her husband and his priest and not put up a fight. In this case both let this family down. I believe that the film does a good job in showing this struggle in both the church and the family. It in no way shape or form is putting down the Catholic church, just the opposite, it shows how one incident can change the course of that religion's ideas and how one person can have an effect far more reaching then just themselves.", "label": 1, "domain": "movie_review", "token_count": 304, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0484", "text": "Although I live in Minnesota, I have been studying in France lately and came across this bizarre gem of a film. This movie was amazing, to say the least. A creative and unique film, the different directors each lent something different to their interpretation of love in the City of Light. The first instinct is to attempt to fit each one of these little stories into an overall storyline, much as can be done with 2003's Love Actually. This attempt, however, renders the magic of each individual segment obsolete. When taken at face value, with each of the short segments taken as its own individual film, the love stories together tell a beautiful message. The film is strikingly bizarre at times -- often to the point of confusion -- and each individual segment can be hard to follow. Still, to a watcher who pays close attention to each of the segments, the short plot lines become clear after a short time. The confusion is almost intriguing; it keeps you on the edge of your seat waiting for what will come next. It leaves the viewer wondering \"Did that really just happen?\" yet also leaves them satisfied that it did, indeed, occur. It's the kind of movie where the viewer, upon leaving the theater, can't actually decide whether they loved it or they hated it. The initial reaction is to go and watch it again and again, just to see these individual lives blend together into a cinematic masterpiece. The interesting decision to make the movie multilingual adds something to the spectrum of people who can relate. It adds to the reality of the film -- here, the American tourists speak English, the Parisians French, and so on. The number of people that the film encompasses leads to an understanding of the international language of love. From sickness to the supernatural, the love of parents to the love of husbands, this film covers all the bases of romantic storytelling. In its beautiful and quirky way, each unique event somehow falls into place to tell a story: that of all types, sizes, nationalities, and shapes of love.", "label": 1, "domain": "movie_review", "token_count": 409, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0485", "text": "Just finished watching this movie for maybe the 7th or 8th time, picked it up one night previously viewed at Blockbuster and absolutely loved it, I've shown it to 4 people so far and they have enjoyed it as well. Avoid of all the Hollywood glamour, special effects and stress on the \"shock factor\", this independent film by Paul F. Ryan hits the nail on the head in dealing with the after affects of traumatic situations. Taking place after a high school shooting, two characters Alicia (Busy Philipps) and Deanna (Erika Christensen) form an unlikely bond. Alicia, the girl with the stone heart, the Goth who has a pessimistic attitude to life assists Deanna to overcome the issues of life and death and living in the aftermath. Meanwhile Deanna attempts to help Alicia to see some of the softness and light in the world again. Not stressing on the shocking event of the shooting, but on the interpersonal relationships amongst those who survived it sets this movie apart. Despite its low-budget and short filming time, this movie is far from cheesy. Ryan pays respect to a situation he has never endured and attempts to delve into the human psyche. With an amazing up and coming actress, Philipps, adds the necessary dramatics to the dialogue and overall feel for the film and Christensen helps to balance out the \"doom and gloom\" feeling this movie may have. Overall, I recommend this movie and if you enjoy the topic of school aggression and violence and learning more about it, I also suggest the documentary \"It's a Girls World\" put out by CBC in 2004, which deals with the topic of social bullying, comparing and contrasting two groups of girls one in Montreal, Quebec and the other in Victoria, British Columbia, the group of friends and acquaintances of Dawn Marie Wellesley a 14 year old girl who killed herself after being brutally bullied.", "label": 1, "domain": "movie_review", "token_count": 386, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0486", "text": "David Beckham is a British soccer star and the husband of Victoria Beckham (\"Posh Spice\" of the Spice Girls). His trademark is a goal shot that curves across the pitch and into the net. The soccer equivalent of an unhittable curve ball in baseball. \"Bend it like Beckham\" means making that type of spectacular shot. Apart from that, and a little shrine to him in the main character's bedroom and a faux-cameo at the very end, the movie has nothing to do with him. The movie is full of little soccer in-jokes, such as the present that one of the characters' parents give her of a jersey with the number 9 on it (property of the great Mia Hamm, to those in the know), references to \"Posh 'n' Becks,\" the video homage to the WUSA one of the characters plays for a disbelieving friend (\"They *have* that??\"), lesbian gags, sports-bra gags, and so on. The story is about a teenage girl in England who idolizes Beckham and wants to be a soccer star. She has a real gift, but the two seemingly insurmountable obstacles she must overcome are the absence of a professional women's league in the UK (hence their fascination with our WUSA), and her parents, who are Indian immigrants set in very old-fashioned ways that do not allow daughters, among other things, to engage in contact sports. The girl's family are portrayed as figures of ironic fun, but with great affection -- think My Big Fat Greek Wedding. The girl loves and respects them enough to go through sitcom hell to conceal her growing soccer stardom from them.", "label": 1, "domain": "movie_review", "token_count": 340, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0487", "text": "I really wanted to like this film and I don't think I was terribly disappointed. Being an American History teacher, I felt an obligation, almost, to see this film and as far as the history went, it wasn't bad. Sure there were a few mistakes here and there (especially with the timeline--the movie only appeared to last a few months or perhaps a year--not over six years of actual fighting), but the overall spirit of the film and the battle sequences were excellent. Unfortunately, the movie ALSO included a pretty meaningless subplot involving a difficult to believe romance between a poor patriot and a rich Loyalist. For the most part, it really served to distract from the overall plot and just seemed \"tacked on\"--like a plot device instead of a real honest-to-goodness romance. In fact, as much of the romance boiled down to the dumb cliché of \"love at fist sight\", it was kind of annoying the more I think about it. However, in spite of this romance, the film is truly interesting and inspiring---plus, in so many ways it seems as if the much later film, THE PATRIOT, was copied from this Griffith film!!! Both films followed the exploits of an evil leader fighting for the British and using horrible and evil tactics against the civilians--and both having the secret intention of using this as a \"springboard\" to starting their OWN nation in the America!!! The only major difference is that this film is set in the North and THE PATRIOT was in the Carolinas. It sure would have been nice if Mel Gibson and the rest had acknowledged their debt to D. W. Griffith for the story ideas. It just doesn't seem all that likely that the two stories were created independently of each other. PS--Despite me liking this film and some other of Griffith's films, he DOES deserve to once again \"burn in hell\" for his having White actors portray all the Black servants in the film! This is a sick and bigoted thing that Griffith did in so many of his films--especially in BIRTH OF A NATION. I gotta assume based on this and the way he portrays Blacks that he was A-OK with slavery and was quite the apologist for this \"quaint institution\" (don't get mad at me--this IS meant as sarcasm).", "label": 1, "domain": "movie_review", "token_count": 470, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0488", "text": "This is very dated, but that's part of the charm with this 1933 movie. You can say the same for most Pre-Code films; they're just different, and usually in an interesting way. It was the short running time, the great acting of Spencer Tracy and the beautiful face and sweetness of Loretta Young's character which kept me watching and enjoying this stagy-but-intriguing film. You'd be hard-pressed to find a nicer girl than \"Trinna,\" played by the 20-year-old Young who was already into making her 50th movie! (She started acting as a small child. That, and the fact they made movies quickly back in the old days.) The camera, although in soft focus throughout much of the film, zoomed in on Loretta's face and eyes many times and I was mesmerized by her beauty. Playing a crotchety man with a cynical outlook on life, Tracy's \"Bill\" slowly transformed into a loving man, thanks to Trinna. Spencer delivered his lines here with such naturalness that you hardly knew he was acting. Although they have small roles, supporting actors Walter Connolly, Marjorie Rambeau, Arthur Hohl and Glenda Farrell leave lasting impressions long after viewing this 75-minute film. I was particularly fascinated with Connolly's role as the minister/father figure of the camp. The story is a little far-fetched but - hey - that's the movies. This story is about two lonely Great Depression victims trying to survive in a \"Hooverville\"-type camp and it winds up to be a very touching tale.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0489", "text": "Moon Child, starring Japanese rockers Hyde and Gackt, was a better movie then I expected. In fact, I was very impressed and it immediately became one of my favorite movies. Set in Mallepa, the story follows a group of street orphans, Sho, Sho's brother Shinji, and Toshi who rob and murder to make a living. On one of robberies, Sho encounters Hyde's Kei vampire burning in the sunlight. Through the coarse of events Kei's true nature is shown, yet no one shuns him away. The time passes and implies that the immortal, never-changing Kei has raised Sho, and the two have a an extremely close bond. Sho and Kei then encounter Son in an outrageous gun fight, and they become quick friends. Both Kei and Hyde fall in love with Son's sister, Yi-Che. Time skips ahead again and shows a grown Sho, this time void of Kei. It also explains that Sho and Son have become enemies. Through tragedy after tragedy this movie dives into the reality of life and all it's hardships, focusing on friendship and love. It is a truly touching movie that is sad yet beautiful at the same time. As for the acting, I think Gackt did a magnificent job. Hyde did an amazing job for a first timer. The shots were beautiful, but the movie did have it's rare and short gruesome shots. All in all, I must say this movie is amazing, moving, and I highly recommend it.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0490", "text": "Passionate, dramatic, riveting as Flamenco itself, the film is simply amazing. It is set on the immortal Bizet's music. The original music is written and performed by one of the greatest classical guitarists, leading proponent of the Modern Flamenco style, Paco de Lucia who plays a musician with the same name. Legendary Flamenco dancer and choreographer Antonio Gades co/wrote the script and choreographed this fabulous version of the celebrated Georges Bizet/Prosper Mérimée novella/opera. He plays a main character Antonio, the famous dancer/choreographer who works on retelling the story of Carmen in the Flamenco style that combines dances with singing and rhythmic hand clapping and has a highly charged level of dynamics that appeals enormously to the viewers. Brilliant and graceful Cristina Hoyos whose technical excellence matches the elegant artistry of her dancing shines in the supporting role. Hoyos had been the first dancer in Gades' company for twenty years (1968-1988) and she was the protagonist of three films that Carlos Saura made of Gades' three great shows: \"Bodas de Sangre\" (1978), \"Carmen\" (1983) and \"El Amor Brujo\" (1985). Gorgeous Laura del Sol is a young dancer named Carmen in whom Antony sees from the first sight another Carmen, who was immortalized by two Frenchmen, the writer Prosper Mérimée in his most famous novella written in 1846 that had inspired George Bizet's world famous Opéra-Comique version from 1875. As in the opera and in the novella, Carmen in Saura's film is desirable and deadly, the ultimate femme fatale who has to be free above anything else. She could not tolerate the possessive love of any man and would prefer death to submission. There some 50 movie adaptations of the story and the opera to the screen, and as different as they are, they all have in common the only possible tragic end. Saura/Gades' film is unique as the most sensual of all and truly Spanish. I fell in love with it from the first time I saw it over twenty years ago and it is as special and beautiful today as it was back then. Highly recommended.", "label": 1, "domain": "movie_review", "token_count": 465, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0491", "text": "Out of all the Princess stories Disney has put out there, Cinderella probably has the most enduring appeal. I can't really say why, but for some reason, generation after generation thrusts her to the top of their lists. As a little girl, I wanted nothing more than to be Cinderella with her glass slipper- it was my absolute favorite costume. Honestly, I don't think there is any story that more realizes the longings of the human heart than Cinderella. Who has never wanted to run away from the drudgeries of daily life and find someone who sees you as no one else ever had? The story is older than the English language and somehow it still rings true. As for the characters, if nothing else, Disney can make a wonderful villain. Lady Tremaine is evil to the T, in a wonderfully calculating, not overtly physical way. Her cutting tongue and eyes do the work for her- she doesn't need staffs of lightening to strike fear into your heart. The animal friends tend to grate, especially that idiotic Gus. I would have cheered had he met his fate in Lucifer's jaws. Cinderella herself was no pushover- making some justly catty remarks at times. However, she just lacked the drive to make her entirely sympathetic. Sure, she was nice and fed animals, but what was keeping her at that place? We never know. Even if she only became a maid in another house, at least she's be getting paid and have a shot at respect. It seems the only reason things work out in the end for Cindy is that everything sort of falls to place in her lap. She never works for her dreams that she sings so fondly of. Which brings me to the music, which is lovely, as ever. Ilene woods has a lovely, rich voice, probably my favorite of any Disney heroine. Some big standards originated here- A Dream is a Wish Your Heart Makes, So This is Love, Bibbidi Bobbidi Boo... Cinderella is a wonderful heartfelt story with a ton of musical highlights. While it is lacking in some character development, it does provide some classic villains and excellent voice work. If you are feeling sick at heart, pop it in- it'll warm you up and make you hum Mmm Mmm Good! Quote of the film: -Surprise! Surprise! -Duh duh duh- Happy Birthday!", "label": 1, "domain": "movie_review", "token_count": 490, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0492", "text": "I saw this film at the Toronto International Film Festival. Not as salacious as it sounds, this is a three-part documentary (each episode is 50 minutes) featuring Slovenian superstar philosopher/psychoanalyst Slavoj Zizek. Zizek takes us on a journey through many classic films, exploring themes of sexuality, fantasy, morality and mortality. It was directed by Sophie Fiennes, of the multi-talented Fiennes clan (she's sister to actors Ralph and Joseph). I enjoyed this quite a bit, although I think it will be even more enjoyable on DVD, since there is such a stew of ideas to be digested. Freudian and Lacanian analysis can be pretty heavy going and seeing the whole series all at once became a bit disorienting by the end of two and a half hours. It didn't help that an ill-advised coffee and possession of a bladder led me to some discomfort for the last hour or so. My only real issue with this is that Zizek picked films that were quite obviously filled with Freudian themes. He spends quite a bit of time on the films of Hitchcock and David Lynch, not exactly masters of subtlety. I would have liked to see him try to support his theories by using a wider range of films, although that's really just me saying I'd like to see part four and five and six. Zizek is very funny, and part of the humour was watching him present what amounted to a lecture while inserting himself into the actual scenes from some of the films he's discussing. So, for instance, we see him in a motorboat on his way to Bodega Bay (from Hitchcock's The Birds) or sitting in the basement of the Bates Motel (from Psycho). Which is not to say that his theories are not provocative. Even when I found myself disagreeing with him, it definitely made me think a little more deeply about the films. Which is exactly what he's trying to accomplish.", "label": 1, "domain": "movie_review", "token_count": 404, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0493", "text": "I wasn't quite sure if this was just going to be another one of those idiotic nighttime soap operas that seem to clutter prime time but, as it turns out, this is a pretty good show (no small thanks to talented casting). Four female friends with diverse backgrounds get together and share the weekly goings-on of their love-lives. The hour long program follows each of them separately through their often screwed up quests to find love and it does it without being boring or trite. Sharon Small's \"Trudi\" is the homemaker one (allegedly widowed after September 11th) who gets a little preachy and annoying with her friends (who tend to be a little looser and more creative in their endeavors). It's great to see Small back on t.v., as she was great in the \"Inspector Lynley Mysteries\". The chick can act. Orla Brady's character (Siobhan, a lawyer) is perhaps the most damaged but still very sympathetic of the women, as she wrestles with her kind but self-absorbed husband Hari (Jaffrey, formerly of \"Spooks\") in his driven desire to have a child with her, regardless of her needs. The final two members of the cast are the effervescent Jess (Shellie Conn), an events planner who's a wild child who sleeps with anyone and everyone, gender not specific, and Katie, (Sarah Parrish) a somber doctor who's affair with a patient AND his son have sent her career and love life spiraling out of control. That being said, I'm hooked now and hope that the BBC continues cranking this series out because it's good, it's different and it's got a great cast.", "label": 1, "domain": "movie_review", "token_count": 353, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0494", "text": "I don't watch soaps. My grandmother still watches that one with the hour glass. I made fun of them it when I was ten (it was so easy). But this movie takes parody and spells it a new way. I found the story pretty damn funny. The fashions of the 80's - shoulder pads, sequins, and polyester - just top it off. The huge hair, the high heels, and the histrionics - what a combination. And all the actors just go to town, chewing up their parts and spitting them out in a big well scripted pile. Sally, Kevin, Elisabeth - wonderful! Whoopi - great! Robert Downey - refreshing to see him back when he had such potential, before the tabloids. And Garry: why did we have to wait so long to see him on film? Leesa Gibbons - hadn't been missing her, but nice to include her as a real life entertainment reporter (and where do you apply for THAT job, anyway?). Admittedly, I could have done without Sally climbing the drainpipe. Lucy Ricardo did it, how many times?, as has every comedienne from Carol Burnett to I don't know who and I'm so done with it now, I could spit peanuts if I had them. Apparently it's what you do when you're being funny in a tall building in New York. I'm just thankful they didn't pull out the flagpole bit. But it was cute, it was funny, it had plot twists, it had an after credits ending before that was common, it had clothes worthy of a second glance, it had a great cast and it's got personal memories for me. Really, what more do you need?", "label": 1, "domain": "movie_review", "token_count": 354, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0495", "text": "Having not seen the films before (and not being able to stand Matt Damon), I was reluctant to go see The Bourne Ultimatum when we were asked to see it for AS Film Studies. However, I was pleasantly surprised that even a film with Damon in it could be enjoyable. Fast fight scenes, crazy motorbike chases and BIG explosions were what threw you out of your seat in TBU. The near-misses between the CIA and Bourne kept you on your toes and throughly entertained. Nevertheless, several things really grated my cheese. Firstly, the fact that the film was just a series of Bourne, CIA, Bourne, CIA, Bourne, CIA. This sequence got repetitive and ultimately dull. Although Damon did keep us entertained and seemed always one step ahead of the CIA, I was getting a bit annoyed with the constant survival of Bourne. He crashed a car and got out as if he had tapped it or something! Very unrealistic. And secondly (inevitably) - the SHAKY CAMERA. It was so shaky it was completely noticeable and made me and everyone who went to see it in my class (even the tutors) seasick. We were told by the tutors that if we ever used that in a film we made in class, it would automatically be wrong and we would be told to use a tripod. Fair enough if Greengrass wanted it to look like we were there watching Damon and Stiles holding a conversation, but surely we wouldn't be shaking our heads that violently! But all in all TBU is an enjoyable film and worth a watch. But I didn't think it was the best film of the year, despite being an entertaining piece of cinema. 8/10.", "label": 1, "domain": "movie_review", "token_count": 352, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0496", "text": "My abiding love of Italian actress Lucianna Paluzzi, who helped jump-start my puberty with her performance in 1965's \"Thunderball,\" has led me to some fairly unusual places. Case in point, this British curiosity from 1959, \"Carlton-Browne of the F.O.,\" which features Lucianna in one of her earlier roles. She plays a princess in this one, although the picture is actually a showcase for the talents of Terry-Thomas and Peter Sellers, both of whose stars were certainly on the rise at this point. In this cute, often very funny film, we learn of the Madeira-like island nation of Gaillardia, which had been a British colony until 1916 and then universally forgotten. Forty-three years later, however, it becomes the center of worldwide attention and international espionage when valuable cobalt deposits are discovered there, and Her Majesty sends the bumbling Carlton-Browne of the Foreign Office to take charge. Terry-Thomas underplays this part nicely, as does Sellers in his role as Prime Minister Amphibulos of the tiny country. (This was Sellers' second film of 1959 concerning a tiny country matching wits with the world, the other being \"The Mouse That Roared,\" of course.) Ian Bannen almost steals the show here as Gaillardia's suave king, and my girl Lucianna is as appealing as can be in her minor role. The film exhibits much in the way of very dry humor, although there ARE some belly laughs to be had (the reception at the Gaillardian airport, for example, and especially that May Day-style parade of Gaillardian strength). And Sellers' seedy prime minister, with his cracked English and seemingly perpetual sweat stains, is yet another memorable character in this great actor's pantheon. Despite the occasional instance or two of indecipherable, stiff-upper-lip British gibberish, I found this picture to be a winningly modest entertainment, and well presented on this crisp-looking Anchor Bay DVD.", "label": 1, "domain": "movie_review", "token_count": 415, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0497", "text": "This is a script that Ed Wood worked over 10 years on trying to get made. Aris Iliopulos finally got the chutzpah to film a script that Wood saved from his burning home at the expense of other, more transitory valuables. This is a dialogue-free movie, that some may foolishly describe as silent. In fact, it is a quite noisy film, without the inane chatter of most flicks. In the hands of these filmmakers, the music and sound effects provide a rich audio experience that works better than almost any grist from the Hollywood script mill, particularly that stupid boat movie Billy Zane last was in ('Watch out!', 'Oh no!' - J. Cameron.... ick...) I'll take Zane's wonderfully communicative monosyllabic grunts in this film over empty dialogue any day. Billy Zane heads a team of players who obviously really wanted to be in this film. Ricci is radiant as always, and the gods are shining when you can put Sandra Bernhard, Rick(y) Schroeder, Eartha Kitt and Andrew McCarthy's name on the same poster. The design is perfect, the pyramid set exquisite, and Ron Perlman's beastly performance is simply wonderful. Overall, this is a chaotic, visceral masterpiece lovingly crafted by fans of Ed Wood Jr., auteur and cinenephile. A must see for anyone who really loves movies the way that the first rate Iliopulos and his cast obviously do. A film to make you wish you had made it yourself.", "label": 1, "domain": "movie_review", "token_count": 315, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0498", "text": "1928 is in many ways a \"lost year\" in motion pictures. Just as some of the finest films of the silent era were being made in every genre, sound was coming in and - while reaping great profits at the box office - was setting the art of film-making back about five years as the film industry struggled with the new technology. \"Show People\" is one of the great silent era comedies. The film shows that William Haines had comic skills beyond his usual formula of the obnoxious overconfident guy who turns everyone against him, learns his lesson, and then redeems himself by winning the football game, the polo game, etc. This movie is also exhibit A for illustrating that Marion Davies was no Susan Alexander Kane. She had excellent comic instincts and timing. This film starts out as the Beverly Hillbillies-like adventure of Peggy Pepper (Marion Davies) and her father, General Marmaduke Oldfish Pepper, fresh from the old South. General Pepper has decided that he will let some lucky movie studio executive hire his daughter as an actress. While at the studio commissary, the Peppers run into Billy Boone (William Haines), a slapstick comedian. He gets Peggy an acting job. She's unhappy when she finds out it is slapstick, but she perseveres. Eventually she is discovered by a large studio and she and Billy part ways as she begins to take on dramatic roles. Soon the new-found fame goes to her head, and she is about to lose her public and gain a royal title when she decides to marry her new leading man, whom she doesn't really love, unless fate somehow intervenes. One of the things MGM frequently does in its late silent-era films and in its early sound-era films is feature shots of how film-making was done at MGM circa 1930. This film is one of those, as we get Charlie Chaplin trying to get Peggy's autograph, an abundance of cameos of MGM players during that era including director King Vidor himself, and even a cameo of Marion Davies as Peggy seeing Marion Davies as Marion Davies arriving at work on the lot. Peggy grimaces and mentions that she doesn't care for her. Truly a delight from start to finish, this is a silent that is definitely worth your while. This is one of the films that I also recommend you use to introduce people to the art of silent cinema as it is very accessible.", "label": 1, "domain": "movie_review", "token_count": 491, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0499", "text": "Olivier, Kosentsev, Richardson, Coranado, Zefferelli, and Almerayeda have all directed Hamlet but Branagh's the only one who got it right. This is the only film of \"Hamlet\" that contains the full four hours of William Shakespeare's masterpiece and gives a unique feel to the whole story. Not many directors could pull this off without boring their audience but Branagh's skillful use of bravora film style and stunt casting allows people to see the importance of the scenes that are usually cut out. Examples of this include Gerarde Depardue as Ranyaldo whos entire purpose in the film was to simply say \"yes my lord\" as Polonius asks him to spy on Leartes. This also included Billy Crystal as the grave digger, Robin Williams as Osric, Jack Lemmon as Marcellous, and Charlton Heston as the actor. Branagh's performance of the Act 4 scene 4 soliloquy (Which again is usually cut out) is nothing short of c cinematic marvel as the camera slowly pulls back as the intensity grows. It is a scene that literally made me want to jump out of my chair and start applauding. Branagh is the only film maker that understood the importance of every scene in this film and knew how to convey that importance to the general audience. This is a must see for everyone who enjoy's good story telling, brilliant acting,and incredible direction. All of these part of William Shakespeares greatest triumph.", "label": 1, "domain": "movie_review", "token_count": 315, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0500", "text": "First week of May, every year brings back the memories of the holocaust, through movies on televisions. Among many movies they showed, this was the one I had not seen. The story is about Hilter's life and how he came to power. It starts with his childhood and ends with his holding the top most position of power in Germany. The movie was earlier presented as a TV series and later converted into a movie format. Scottish actor Robert Carlyle plays Adolf Hitler with great guts, conviction and flare to give a real portrayal of this man. It is a good screenplay and narrative, that educates the audiences on the main events that lead Hitler into power, and also tries to show the probable psychological make up of Hitler. The movie is a biased viewpoint of the director Christian Duguay – who shows Hitler as a one-track, menacing, angry, and shouting person – who had such a strong hold on the Germans and people around him. Hitler is not shown as someone having charishma and attraction, and there the movie fails to convince Hitler's portrayal. Even though the venture was for TV, all the ingredients of production are first class and at par with any main stream movie. The production value, sets, costumes, etc. were perfect. There is a lot of criticism of this movie, in the authenticity about the historic events that is presented. But still the movie is gripping, every engaging and entertaining. Robert Carlyle overpowers and dominates the screen as no one else does. He is amazingly good – brilliant! I would have liked a more balanced view of Hitler's life, because I think, Hitler was able to bring out the dormant feelings of million of Germans and it is not only him who should be blamed for the holocaust. As I have told several times, that – very sadly - our society loves to garland or prosecute one person, as a representative of the society's good or evil respectively.", "label": 1, "domain": "movie_review", "token_count": 392, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0501", "text": "When \"Girlfight\" came out, the reviews praised it, but I didn't get around to seeing it. I finally saw it when it got released on video, and understand the glowing reviews. The movie opens in a high school in the middle of a ghetto. We quickly get introduced to student Diana Guzman (Michelle Rodriguez). She has a bad-ass expression on her face, and any idea about Diana that we might derive from this expression soon gets corroborated when she gets in a fight. As Diana gets in trouble for this, we then meet her father, an aggressive type in his own right; clearly we can't totally blame Diana for her attitude. But then the movie really picks up, as a new thought germinates in Diana's mind: boxing as a way to escape this grim existence. Her older brother has already gotten into boxing, but her father most likely won't approve. Only Diana herself can decide what to do. Just the first few minutes alone identified that I was in for a very gritty, non-Hollywood movie, but the brief appearance of John Sayles in a supporting role truly affirmed that. Even before they get to any boxing scenes, you feel like you're getting pounded in the face at seeing the ugly life that Diana lives. And when they finally arrive at the film's main story, there's no turning back. All in all, I definitely recommend this movie. I will admit that using boxing as a means to show someone trying to make something of himself/herself has been sort of a cliché in cinema for many years (\"Rocky\", \"Million Dollar Baby\"), but I still think that they did a great job with it here. In fact, this may have brought the genre to its apex. Really good. Too bad that Michelle Rodriguez wasted herself in Hollywood movies after this one.", "label": 1, "domain": "movie_review", "token_count": 370, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0502", "text": "\"Victor doesn't have much, but that's not stopping him from trying to go out with Judy, the prettiest girl on the block. All he's got is hope and a one-bedroom apartment he shares with his family. His grandmother doesn't trust him, his brother worships him, and his half-sister just declared war. But Victor thinks love really can conquer all in this warm, genuine, and touching romantic comedy about life in the part of the city most people never see,\" according to the DVD sleeve's synopsis. Peter Sollett' \"Raising Victor Vargas\" elicits engaging \"debut\" performances from lead actor Victor Rasuk (as Victor Vargas) and the cast. Mr. Rasuk and juicy Judy Marte (as Judy Gonzalez) are sexy and endearing as \"Lower East Side Kids\" discovering the joy of sexual attraction. Considering how attractive they look in this picture, it's not hard to predict they hook up - and, although you may wonder how \"innocent\" they really are, their characterizations seem true. Victor's brother \"Nino\" is played by Victor's real-life brother Silvestre Rasuk, who looks the part his older brother is playing. Sometimes, it's nice to see movie brothers who actually look alike; and, hopefully they will work together again. \"Cuckoo for Cocoa Puffs\" sister Krystal Rodriguez (as Vicki) and old world Altagracia Guzman (as Grandma) round out the sex-starved Dominican immigrant family. So, are hand-held-camera coming-of-age films in vogue, or what? ******* Raising Victor Vargas (5/16/02) Peter Sollett ~ Victor Rasuk, July Marte, Silvestre Rasuk", "label": 1, "domain": "movie_review", "token_count": 361, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0503", "text": "In my humble opinion, this movie did not receive the recognition it deserved. Robert Redford lives near me here in Provo, Utah, at Sundance. I enjoy most of his work, and this was my favorite. I'm sorry that more people didn't appreciate it. My grandmother was an avid reader and read the book years before it came out on the big screen. She gave it to me to read after we had seen the movie together. The movie and book hit an emotional spot within my heart, and I was weepy for several days after seeing the movie. Sometimes love isn't enough to keep our loved ones from hurting themselves. We see this in our own family relationships, yet our love and our families and their stories endure throughout generations of time. The cinematography was perfect and breathtaking -- I was awed by its beauty and how well it brought to life the words of the author of the book, Norman Maclean, \"But when I am alone in the half light of the canyon, all existence seems to fade to a being with my soul, and memories. And the sounds of the Big Black Foot River, and a four count rhythm, and the hope that a fish will rise. Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters.\" These words, taken from the book and spoken at the end of the movie (by Robert Redford who is narrating as Norman Maclean), are basically scripture, in my opinion. Any possible flaws the movie may have are overshadowed by the beauty and grace of the story and the cinematography. It was beautiful!", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0504", "text": "I wish kids movies were still made this way; dark and deep. There was (get this) character development (and Charlie is the epitome of the dynamic character), plot development, superb animation, emotional involvement, and a rational, relatable, and consistent theme. If not for the handful of song-and-dance routines, you would never have thought this was a kids movie, and this is why I give it such a high rating. This movie is an excellent film, let alone for a kids' movie. Which brings me to my second point: this has got to be the darkest \"kids'\" movie I've seen in quite some time, this coming from a 22-year-old. I'd be shocked to see any child under the age of 8 not completely terrified throughout a great deal of the latter half and some of the first half of the movie, and it all ends with one of the saddest endings you could ever come across (ala \"Jurassic Bark\", for those of you who are 'Futurama' fans), and this is what makes this movie so good. Just because the movie universally evokes emotions we don't normally like to feel and assume are bad does not make the movie itself bad; in fact, it means it succeeded. Good funny movies are supposed to make us laugh; good horror movies are supposed to make us scared; good sad movies are supposed to make us sad. My point is, good movies are supposed to MOVE you, not simply entertain; this movie moved me. Also, this movie is incredibly violent by today's standards for a kids' movie and contains subject matter that, by today's standards, may not be suitable for some children. Parents, I'd say watch it first. I'm not usually one to say anything about this kind of thing, but I just saw this yesterday and it came as a surprise even to me.", "label": 1, "domain": "movie_review", "token_count": 382, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0505", "text": "The industry dropped the ball on this. The trailer does not do the movie justice and when this opened it was on a hand full of screens. Had people had an opportunity to see this, work of mouth would have made it very successful. The 2 lead actresses each give great emotional performances that really draw you in to the story and especially the characters. I checked this out based on the rave recommendation Richard Roeper or (Ebert and Roeper) in his book. An example of a great film that never got fully released except on a few screens. Which gave it no chance to be seen. Some movies go to video quickly because they aren't that good. This is Oscar worthy and it's a tragedy on many levels that most will never even hear of it. Maybe via word of mouth it will gain a following on DVD or cable. If you haven't see this movie you should. Great performances of the 2 lead actresses make this movie. It could have just been another formulaic teen movie after school special but instead it stands up well to other note worthy films. Girl Interrupted comes to mind. If you like that you will like this. Both girls are in one amazing emotional scene after another without coming off as melodramatic. Even though Alicia is angry and Deanna is crying through most of the movie it is done is such a real way that they do not come off as stereotypical characters or as melodramatic. The movie will move you in many scenes and if you are an aspiring actor use these real performances as your school. Erica is even better in this than in Traffic. I hope both of these actors get more roles that utilize their talents as well and let them shine. See this movie and if you like, recommend to friends so it doesn't get lost among all the blockbuster crap that comes out every year. This movie was buried while Spiderman 2 tops records. What kind of word are we living in? AGHhh. So to make the world right again see this and recommend it.", "label": 1, "domain": "movie_review", "token_count": 409, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0506", "text": "This is the magnum opus from the Swedish king of crap, Mats-Helge Olsson. Seldom has a movie of this magnitude been made in Sweden and it truly stands out as one of the most amazing achievements in Swedish film to date. Who pays for these things? The Russian nuclear scientist Markov wants to defect to Sweden. But his plans are ruined by the Russian military who kidnap him and tell him that he has arrived in Sweden. This trickery is their way of seeing to that Markov continues his work in nuclear physics that will revolutionize the energy supply for the whole planet. The CIA however is bent on getting Markov to the west and send their ninja to liberate him. The practice of having Swedish actors speaking English is something that Mats-Helge has perfected in his later works. The cheap b-movie feeling this creates is probably unmatched for performance. But besides this? Well the action is standard direct-to-video style. Machine guns firing huge clouds of smoke. Thousands of Russians dying. People running around in black ninja suits, trying to hide in the snow. What really stands out though is the insanely poor way the fighting scenes are choreographed. When they say \"Ninja\" in the title i expect martial arts, i expect close combat. But there are maybe two or three scenes of actual martial arts in this movie. And they are hilarious. It's so bad i lack the words to describe it. If the ninjas moved any slower their hearts would stop. And of course the whole movie ends in a bang that indicates a special-effects budget consisting of four food-stamps and a McDonald's voucher. So what's the verdict? Instant classic of course. Never before has a movie been made that is so obviously meant to be consumed along with huge amounts of alcohol. It's the ultimate party movie. Insert into video and laugh. One just has to realize that movies like these are not made any more. This is film history. Therefore the rating is 8/10 for entertainment, 1/10 for quality and 10/10 for accents.", "label": 1, "domain": "movie_review", "token_count": 422, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0507", "text": "\"Rock 'n' Roll High School\" will probably have to go down in history as the ultimate rebellious party flick. Portraying a bunch of high school students using the Ramones' music as inspiration to rise up against their despotic principal (Mary Woronov, of \"Eating Raoul\" fame), the whole movie is a mile a minute. It's basically a big excuse to have fun, and I'm sure that you will. Bullied freshmen? Check. A dorky music teacher (Paul Bartel, also from \"Eating Raoul\"*)? Check. Exploding mice? Checkmate. Anyway, this is the sort of stuff that makes life worth living. Even for someone like me who doesn't know the Ramones' music, it's pure pleasure. With Roger Corman executive producing and Joe Dante co-directing, how could we expect anything less? Too bad that director Allan Arkush later degenerated into fare such as \"Caddyshack II\". Also starring P.J. Soles, Vincent Van Patten, Clint Howard, Dey Young, Dick Miller (who has appeared in every one of Joe Dante's movies, and many of Roger Corman's), Don Steele, and of course the Ramones. A real treat. *It seems like Bartel and Woronov always co-starred. They also co-starred in Joe Dante's \"Hollywood Boulevard\" and the slasher flick \"Chopping Mall\" (also starring Dick Miller)...in which they reprised their roles from \"Eating Raoul\".", "label": 1, "domain": "movie_review", "token_count": 319, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0508", "text": "Kenneth Branagh's \"Hamlet\" hits all the marks. The acting is magnificent, the 70mm cinematography is gorgeous, the Oscar-nominated costumes and sets are stunning, and Patrick Doyle's score (also Oscar-nominated) is sensitive and moving. Oh yeah - the screenplay, by some guy named Will S., isn't too bad either. Film critics ribbed Branagh for receiving the films' fourth Oscar nod for \"adapting\" the screenplay, but his decision to use the full text was a gutsy one. I can't think of many better ways to make four hours fly by. Nearly every decision Branagh makes works brilliantly: the use of England's Blenheim Palace for exteriors, the Edwardian dress, and the staging of \"To be or not to be\" in a hall of mirrors, to name a few. The casting of Hollywood luminaries such as Robin Williams, Billy Crystal and Jack Lemmon in minor parts can be distracting, but that's nitpicking. The principal cast excels: Derek Jacobi captures the conflicted nature of Claudius; Kate Winslet acutely depicts Ophelia's descent into madness; Julie Christie brings passion to her portrayal of Gertrude; Richard Briers is pitch-perfect as the conniving Polonius; and Nicholas Farrell elevates the potentially thankless role of Horatio to the apotheosis of true friendship. Every speech, every line, every word is delivered with passion and conviction; there isn't a wasted moment in the entire film. The final scenes magnify the extent of Shakespeare's tragedy in a way not possible with theatrical adaptations. Branagh's \"Hamlet\" is a bold, ambitious, and ultimately successful attempt to match the grandeur and poetry of Shakespeare's language with equally eloquent imagery. It's arguably the greatest Shakespearean adaptation ever filmed – strong praise, but well deserved.", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0509", "text": "A story of obsessive love pushed to its limits and of a lovely swan whose beauty is the very ticket to her own premature demise. Placed at the beginning of talkies, PRIX DE BEAUTE walks a thin line in being a full-on silent film -- which is still is at heart -- and flirting with sound and sound effects. The effect is a little irritating for anyone coming into this film because the recorded audio is extremely tinny and just doesn't help it at all. Hearing sound stage conversation edited over the beginning sequence which takes place in a beach, for example, is as part of the movie as the actress who dubs Louise Brooks' dialog and in doing so robs the audience of a fine performance. Other than that, the movie rolls along more or less well, with little jumps in continuity here and there -- something quite common in films from this era -- and has that vague sped up feel typical of silents. In a way, this is an experiment of a movie, and closer to the style of Sergei Eisenstein in visual presentation and near-intimate closeups that elevate it from what would be a more pedestrian level. Louise Brooks here plays a character less flapper than what she was known for: she's a stenographer who on a lark decides to enter a beauty contest despite the furious opposition of her extremely smothering boyfriend. Her role is quite Thirties and contemporary for its time; the last of the flapper/Jazz Baby roles were being shown on screen and now, with the onset of female independence, women as professionals were being represented in film. That Brooks's character decides to leave her boyfriend (even if she does \"reconcile\" with him later) is also a little ahead of her time. However, her character's fatal flaw is its willing to believe what isn't there -- that her boyfriend wants her to succeed -- and this is what leads to her end at the movie theatre. This final sequence looks like something straight out of Hitchcock in its heightened suspense (seen in THE MAN WHO KNEW TOO MUCH) and cuts from Brooks, her image on screen, and the murderous boyfriend. Even more dramatic is the placement of the still singing \"live\" Brooks with the now dead one -- a chilling effect to a chilling, powerful movie.", "label": 1, "domain": "movie_review", "token_count": 464, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0510", "text": "Eskimo is a serious movie about the cultural chasm between an indigenous population and the encroaching white man. Although filmed in a documentary style seemingly with non-professionals, Eskimo is a skilled production that contains a believable story the audience will want to see through to the final shot. The native Eskimo simply has different beliefs and behaviors about women and life than do the whalers that darken his landscape. When an Eskimo man loses his mate, it is natural that other men share their women with their friend. It is also usual for their women to want to take the place of the missing spouse. All of this seems natural in the context of the desolate foreboding Arctic setting. The trusting Eskimo falls prey to unscrupulous white whalers (with heavy European accents) that do not view these natives as their equals. Deceit, drunken orgies, rape, and death occur after the Eskimo men depart for work on the icy cold seas. Eventually the lead Eskimo (Mala) realizes that he has been duped and he takes his revenge. The audience would have cheered in the 1930's theaters. Enter the Royal Canadian Mounted Police and the moral dilemma of whether to bring back Mala for trial. The Mounties are played as feeling policemen that know this is not a cut and dry case. Will the Mounties get their man? Is it fair to hold Mala to a code of behavior outside of his traditional society? Is there a way out that does not punish Mala? Is it inevitable that the white man's law must prevail? Is there no hope for innocence? This is not a great movie, but one that you will enjoy for the depth of the issue addressed in a very different setting. I suspect that the filming of the sequences with animals was done before today's disclaimer that none were injured in the making of the film -- so beware of the raw nature sequences. Highly recommended.", "label": 1, "domain": "movie_review", "token_count": 394, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0511", "text": "This is a film about 17th Century Italian artists and one artist in particular, a woman Artemisia, an unheard of profession for females at that time, and she dared to paint the male nude detailing his unique musculature. The camera work is principally indoors for that is where the artists mainly worked. There are some great shots. Close-ups by candle light suggest the beautiful work of the classical painters and it is fascinating to watch the painters and their students supported by elaborate scaffolding brushing in details of religious frescoes. It is not surprising that the artistic elements of the film (costumes,faces, make-up) are quite superbly authentic because the Italian churches have preserved all these details in their frescoes for centuries. The beautiful Artemisia is urged by her father to study under the great Florentine artist, Tassi, who has become expert in the art of perspective and landscape painting (something very new) but the unsuspecting Artemisia is introduced to more than new techniques in painting. After posing for her, Tassi violently rapes her. Her father is outraged. Court proceedings follow. This romantic drama has a fairly simple story with an unsatisfactory ending. The outstanding feature of the film is its artistic presentation and attention to detail. Scenes such as women running across a field with the wind billowing their voluminous clothing add wonderful effects. Artemisia says she paints to please herself; her father paints to please others. As for this film, it will please most, I think.", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0512", "text": "I had the opportunity to see this film twice at the 2006 Moving Picture Festival In Birmingham, Alabama. I enjoyed it so much that I watched it a second time when they had an encore screening. When I think of the films that are shown at festivals, I usually expect them to be edgy and offbeat, often with the feel of an elaborate student project. There's nothing wrong with these types of projects of course, and I enjoy the unique styles of independent films, but sometimes I want to see a more mainstream approach to independent film-making. By \"mainstream,\" I mean more like a film produced for national release - In other words, a movie that you would see in a regular movie theater. The writing, directing, cinematography, casting and acting in this movie are all totally pro. There is nothing typically independent about this film. As an aspiring director, I am always looking for movies that will motivate me to stop procrastinating and push harder to get my career going. This is one of those films. As I watched The Big Bad Swim, my motivation level was incredible. I felt like my adrenaline had kicked in. The reason I felt this way was because I was so impressed with every aspect of this production. I left the theater excited and ready to start writing that long put-off project. When a movie makes me feel like that, I know it's really good. This is the first feature-length project from Ishai Setton and I found myself wishing that It had been my project. For me, that's really rare. See this film. It's beautifully shot and directed, and the casting is excellent. Paget Brewster delivers a very believable and likable performance. She has a quality about her, a charisma, that really draws you in and keeps you focused on her any time she is on screen. She makes you feel like you know her personally as a friend. That's a gift. I think the industry is really missing out by not utilizing her acting abilities more often. Jeff Branson and Jess Weixler also did top-notch jobs. I can not say enough nice things about The Big Bad Swim. I look forward to future projects from all of those involved in its production.", "label": 1, "domain": "movie_review", "token_count": 448, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0513", "text": "I am of \"the Christopher Reeve Generation\" it is fair to say that he was the best actor to play Superman yet, but that doesn't stop me from enjoying other actors in the role, and George Reeves makes a pretty good bid to knock Chris off the top, though he just barely falls short. That doesn't stop me from enjoying this film, it has a lot going for it. It has all that a movie needs, a plot with beginning, middle, and end, plus all those parts are intelligently written. The film is edgy both in acting and storyline, something a film-noir but with tights. The story is both exciting and meaningful, this is a movie with a message that isn't too preachy. I am still amazed this was shot over 12 days, oh the glory days of Hollywood, when we didn't have to wait 5 years just to see if the movie would fall into development hell... The film is polished and expertly made, directed by Lee \"Roll'em\" Sholem, best known for directing with both speed and efficiency. It never lets the constraints of technology slow it down, in fact there is some creative things done to create the effect of flight, including putting a camera on a boom on a truck and shooting high and traveling fast to make it look like we are seeing it from Superman's point of view, also a few closeups of George in process work, and a long shot of an animated Superman. This is now available on DVD as an extra feature on the first season of the George Reeves Television series. A DVD worth owning in its own right, the inclusion of the film as its original whole, is icing on the cake. Give Blood Today God Bless!", "label": 1, "domain": "movie_review", "token_count": 350, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0514", "text": "Never having seen this movie, based on the entertaining novel by Nicholas Katzenbach, and taking into consideration the first rate cast assembled for the production, we decided to take a look. \"Just Cause\", while not a horrible film, takes too many liberties with the original material that Jeb Stuart didn't quite succeed in his treatment. Arne Glimcher directed. The first thing we think when a young black man is hauled to the local precinct for interrogation is police brutality. After all, sheriff Tanny Brown, and police officer Wilcox, show no mercy in beating Bobby Earl, who is accused of killing a young white girl. We feel horrified by what the officers do to the prisoner. Then, the scene changes. Evangeline, Bobby Earl's grandmother is sent north to ask a distinguished Harvard professor, a retired lawyer, the young man wants Paul Armstrong to defend him. She old woman is convincing enough for Armstrong to take a look at the case. He is also convinced of the young man's innocence. Things are not exactly what we thought they were. When Blair Sullivan, a man who is serving time in the same facility as Bobby Earl, comes forward to tell about how he is connected to the young girl's murder, and changes the dynamics of the case. The way it plays in the movie, it serves to confuse the viewer and distract Armstrong from arriving at the truth. This thriller is made enjoyable by Sean Connery, who plays Armstrong. Laurence Fishburne, an intense actor, makes a fine impression as the Sheriff who, as far as we can see, is guilty of abusing his prisoner. Ed Harris has a wonderful opportunity to show why he is one of our best actors. Blair Underwood, Kate Capshaw, Ruby Dee and the young Scarlett Johansson are seen in supporting roles. The film, even with its faults, will not disappoint.", "label": 1, "domain": "movie_review", "token_count": 378, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0515", "text": "Probably the most whimsical installment of the first season, 'Shore Leave' has its ups and downs; some parts drag on too long and others are unambitiously cut short, but one can't deny they threw in everything but the proverbial kitchen sink to make this an entertaining episode. Kirk and crew seem to have found the perfect planet for shore leave after an extended tour of duty has left everyone on board in need of rest, relaxation and so on. It appears for all intents and purposes to be an uninhabited Earth, with beautiful scenery and an ideal climate. The first indication that things might go just a little awry is when McCoy, leading an advance team, spots Alice (from Wonderland) following a large white rabbit wearing a vest. Kirk beams down and finds the others reporting similarly bizarre happenings and encounters. The one thing they all have in common is that each crew member was thinking about the person/place/thing they discovered right before they discovered it. This doesn't immediately sink in with Kirk or anyone else. More strangeness ensues, including sightings of Don Juan, a Siberian tiger, a WW2 fighter plane, etc; Kirk meets up with Ruth, a gorgeous old girlfriend (of course) and a bully from his Academy days, Finnegan. The chase/fight scene with Finnegan goes on too long but at the same time, McCoy is run through with a lance by a knight on horseback and apparently killed. Finally, an elderly man appears and explains what has been happening. The planet is a futuristic 'amusement park' where visitors have only to imagine something to have it appear. Nothing is permanent; McCoy isn't really dead. Once this is explained, Kirk decides to order shore leave for everyone after all. Despite the 'it was all a dream' sort of ending, 'Shore Leave' holds up as another first-rate episode of Star Trek's first season.", "label": 1, "domain": "movie_review", "token_count": 387, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0516", "text": "Gurinda Chada's semi-autobiographical film (2002) is a gentle, poignant comedy set in the ethnically diverse community near Heahthrow Airport in West London. Like the airliners which constantly arrive and depart from overhead, we follow the ups and downs of the two main characters Jess Bhamra (Parminder Nagra) and Jules Paxton (Keira Knightley) as they strike up an unlikely friendship which centres around their mutual passion for soccer and their technical infatuation with David Beckham. Much of the comedy grows out of the misunderstandings of the families of these two talented girls as they break all the expectations and conventions of their very different family backgrounds. Somewhere in the middle, as broker, peacemaker and blighted athlete, Joe (Jonathan Reece-Myers) - team coach for the Hounslow Harriers - intercedes in times of crisis, while at the same time remaining the main object of affection of both the main characters. Eventually, and not without many obstacles and triumphs on the way, we finally see our dedicated and beloved soccer heroines soaring away to realise their dreams. With great performances from Bollywood veteran Anupam Kher (Mr Bhamra), Shaheen Khan (Mrs Bhamra), Juliet Stevenson (Mrs Paxton) and Frank Harper (Mr Paxton) this really is a film that captures the urgent passion of adolescence and crosses all ethnic frontiers. Pinky Bamrha (Archie Panjabi) and (Taz) Trey Farley are struggling their own struggles, but nevertheless contribute greatly to our understanding of the main characters in the film. In it's own special way, this film tells an important story that in quite incidental the football. It celebrates the evolution in the understanding of ordinary people in ordinary families and the innate ability of the young to teach the old.", "label": 1, "domain": "movie_review", "token_count": 377, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0517", "text": "I disagree strongly with anyone who might dismiss this film as \"just\" entertainment. Set right after the carefree, roaring 20s, during the early days of the Great Depression, Dance, Fools, Dance is at its heart an earnest cautionary tale, with a clear message about how best to endure these hard times. Yet this fast-paced and tightly-plotted film is far from being a dreary morality tale. In the 30s, Hollywood had a knack for churning out one entertaining *and* enlightening audience-pleaser after another, all without wasting a frame of film. Dance, Fools, Dance -- one of *four* films that Harry Beaumont directed in 1931 -- is barely 80 minutes long, yet its characters are well developed, its story never seems rushed, and despite its many twists in plot, the audience is never left behind. With the lone exception of Lester Vail as flaccid love interest Bob Townsend, the supporting cast is uniformly strong. Worthy of note are William Bakewell as Crawford's brother, Cliff Edwards (best known as the voice of Jiminy Cricket) as reporter Bert Scranton, and Clark Gable in an early supporting role as gangster Jake Luva. But this is Joan Crawford's film, and she absolutely shines in it. Made when she was just 27, this lesser-known version of Crawford will probably be unrecognizable to those more familiar with her later work. However, here is proof that long before she took home an Oscar for Mildred Pierce, Crawford was a star in the true sense of the word, a terrific actress with the charisma to carry a picture all by herself. Score: EIGHT out of TEN", "label": 1, "domain": "movie_review", "token_count": 347, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0518", "text": "Fox's epic telling of one a America's greatest pioneering efforts comes to DVD with some truly outstanding \"Extras\". BRIGHAM YOUNG (The \"Frontiersman\" was added for the European release), telling the story the great pioneer leader, who under inspiration brought members of the Mormon faith (Church of Jesus Christ of Latter-day Saints)out to the Salt Lake Valley in 1847, after mobs murdered their prophet/leader, Joseph Smith (played by Vincent Price), was brought to the screen in 1940, just as America was about to enter World War II. It was a daring move on Fox chief, Darryl F. Zanuck and it was a breath of fresh air to the Mormon people, as this was the first film attempt to favorably show their faith on the screen. Now Fox, working with James D'Arc, curator of the excellent Motion Picture Archives at Brigham Young University in Provo, Utah, has brought this film to the DVD format in an outstading edition. Mr. D'Arc, who some years ago did his doctoral dissertation on the film, has provided one of the most in depth commentary tracks ever done for a DVD. He seperates the fact from the fiction and lets listeners understand why this films was so much appreciated by Church Leaders even though embellishments to the truth run throughout the film. One of the fun bits of information deals with Dean Jagger, the actor who plays the title role. Many years after the film he married a Latter-saint woman and was eventually converted to the LDS faith. There is much to be learned from D'Arc's knowledge and it is great to have this as part of the DVD! There are over 100 pictures from the Fox & BYU Archives included on the disc, plus newsreel footage of the incredible premiere at seven theatres in Salt Lake City. Thanks FOX for another outstanding DVD -- and thank you, James D'Arc for your great commentary!", "label": 1, "domain": "movie_review", "token_count": 396, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0519", "text": "Marvelous cult film from 1979 in which the students of Vince Lombardi High School are confronted with a new, dictatorial principal named Miss Togar (Mary Woronov). Togar is a music hater and blames the musical tastes of the students for their transgressions. Leading the charge against her is fun-loving Riff Randell (P.J. Soles), the #1 Ramones fan who, more than anything, wants the rock group to record her songs. Now *this* is an impossible movie to resist. First and foremost, the soundtrack is incredible, with songs by such artists as Alice Cooper and the Velvet Underground in addition to the infectious non-stop assortment of Ramones songs. \"Teenage Lobotomy\", \"Sheena is a Punk Rocker\", and \"Blitzkrieg Bop\" are just a few of them. Next, the cast truly gives it their all, with Soles an ideal choice for the role of Riff; she is a true delight. Vincent Van Patten and Dey Young are earnest as Tom and Kate, Woronov is well cast against type as the snooty and disdainful Togar, Clint Howard has one of his best ever parts as washroom-occupying entrepreneur Eaglebauer, and New World regulars such as Dick Miller, Paul Bartel (particularly fun as music teacher Mr. McGree) and The Real Don Steele are fun as always. And, of course, it's a treat to see The Ramones playing themselves. The movie has true spirit. The energy level is high, with co-story author and director Allan Arkush bringing a great deal of flair to the proceedings. There's also a great sense of humor. The paper airplane gag is a superb example of this. This extends right to the \"wipe\" style of scene transitions. There are even hilarious giant mice created by future makeup effects notable Rob Bottin, in one of his earliest gigs. About as good as an authority-defying, defend-one's-right-to-party film can get. \"Rock 'n' Roll High School\" is, quite simply, a wonderful cult film. 8/10", "label": 1, "domain": "movie_review", "token_count": 441, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0520", "text": "I can only echo the praise of the other reviews here. It's a delightful film with a feelgood factor that it achieves without crossing the line into soppy sentimentality. Naturally sweet - no added sugar. One small point: it seems to me that the mild objections raised about Ustinov's character Pendelton being able to walk in and defeat the system security ignore the fact that Pendelton is clearly a genius/savant at this sort of thing. Yes, the film was pretty computer illiterate, but it did show Pendelton 'studying computers' at his flat, and I believe the implication was supposed to be that his gifts allowed him to simply engulf the whole subject, practically overnight. There were a few odd moments when it appeared in some scenes that Gnatpole was trying to test Pendelton's knowledge and call his bluff. I'm not sure whether we were supposed to believe that Pendelton cunningly weaselled his way out of these situations, or whether he was actually knowledgeable enough to pass the tests - it was a little unclear. Certainly he had to know enough to set up the dummy accounts. Presumably Wallach and Ustinov were relying on their own rather foggy notion of how computers worked in those days, and in order to understand in detail what they were getting at, it's necessary to know quite what their concept was. They knew there was something about 'procedures' which was important; they thought that the 'smart light' could actually control security, rather than just indicate its state; they thought that the (dumb) user terminal's features would strongly influence what could be done on the mainframe itself - though apart from things like graphics feature I don't see it meself. Mostly, I think they tried to avoid the subject of actual computer operations as far as they could, and they did that rather well. Allowing them a bit of artistic license, I don't think their efforts had any flaws worthy of note. CD", "label": 1, "domain": "movie_review", "token_count": 404, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0521", "text": "As is well-known among long haired youngsters who are incredibly interested in this Herr Graf's silent rants, during summertime aristocrats like to travel to exclusive and distinguished places in order to avoid the heat as well hordes of coarse people taking their ease. Such bizarre travels around the world also happen in \"Three Ages\", a charming and elegant piece of silent work directed by old hands, namely Herr Buster Keaton and Herr Eddie Cline. Obviously this German count liked most the first segment focused on the Stone Age due to the affinity that this aristocrat feels about that ancient time. preferring that to the second segment which takes place during the glory of Rome (It should have included the cause of the fall of the Roman empire, that is to say, Barbarians, or the same thing, Germans). Of course, the third segment takes place during modern times but this Teutonic aristocrat thinks that even 100 years ago should qualify as modern. The leitmotiv that moves Herr Keaton and his companions to travel and endure the strange and hilarious happenings during three different ages, is the search for love, a very complicated subject to understand for aristocrats who prefer the search for money and self interest. Every time that \"Three Ages\" is shown in the Schloss theatre, it is always a pleasure to watch a funny, witty silent film (even for a serious German count), an oeuvre full of gags and gadgets, puns, pratfalls and acrobatics, visual and astounding technical tricks, an absolute silent delicatessen that is perfect to allow one to endure the various and coarse summertime severities. And now, if you'll allow me, I must temporarily take my leave because this German Count must flirt with an old Teutonic heiress who doesn't look her age. Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/", "label": 1, "domain": "movie_review", "token_count": 384, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0522", "text": "First off, if you're planning on watching this, make sure to watch the UNCUT version (although it is very interesting to go back and then watch the scenes that were tampered with due to censorship), it makes a HUGE difference. This film is about a young woman, played by Barbara Stanwyck, who since the age of 14 has been forced into prostitution by her own father. When her father suddenly passes away, she is able to go out into the world on her own. After reading about Nietzsche's philosophies on life, she uses her sexuality to manipulate men into giving her what she wants and leaves them in ruins and desperate for her love. Throughout the movie she becomes increasingly materialistic and manipulative and the audience begins to wonder is she has any sense of morality left at all. Overall, Baby Face is a very shocking movie with blatant scenes of sexuality that most people would not expect to see in a black and white film. While no sexual acts are explicitly shown on screen, it is very obvious what is happening off camera. I enjoyed watching this film very much and I believe most modern audiences will get at least some enjoyment out if it, especially with the films shock value. I did think while watching it that the pacing seemed a bit slow at parts, but I think that about most movies the first time is see them. Actually, I think that almost all movies I've seen made from the early 30's had some minor pacing problems or certain parts just didn't quite \"flow\" right. This was probably just the craft of film-making wasn't quite perfected yet – it would take just a few more years. Compare a film from 1939 and compare it with an early 30's film and I think you'll see what I mean. Once again, I'm very glad I was able to watch the original cut; it really does make a big difference. Also any John Wayne fans will be surprised to see him in this movie before he was famous in an uncharacteristic role.", "label": 1, "domain": "movie_review", "token_count": 407, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0523", "text": "Had never heard of The Man in the Moon until seeing it last evening on THIS HDTV channel. Look, my taste is like any others', eclectic. My favorites run from Blue Velvet to Dr. Strangelove to The Ghost and Mrs. Muir thru The Wizard of Oz and The Loved One, Eraserhead, repo man, and The Spy Within. The Man in the Moon is superbly made, a gentle hearted, joyous and tragic film, beautifully filmed, one in which the actors truly live in the moment rather than act. This sweet tale shortly will be in our private library. This beautiful story of life in a far finer era in rural Louisiana literally transports you to its pastoral setting. It's hard to remain stoic during the film's last moments, particularly when the young girl the extent of her older sister's heart searing private pain and forgives all. Rather than spoil the enjoyment or bore you to sobs with my dull prose, will end now with this suggestion from one who enjoys films which speak from the heart to ours. If you purchase no other film, please, purchase the Man in the Moon. This moving story is one you'll enjoy reliving time and again. It is a joy and a gem, a film all too scarce in this world of hardening hearts. The simple virtues evinced in Man in the Moon are a joy to behold. Paul Vincent Zecchino Manasota Key, Florida 05 April, 2009", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0524", "text": "This is good little shocker; not perfect by any stretch of the imagination, but tight, competent and disturbing. An excellent example of a simple idea developed into a compelling 90 minute script. The set up requires no bells and whistles, no lengthy exposition or wordy back story; Kate (Franka Pontente), a young German business woman living in London, drifts off whilst waiting for the last tube train. She awakens to find the place deserted, but quickly comes to realise that she is far from alone. Someone, or something, is down there with her and it's intentions are wholly malicious. In fact she encounters several other characters in her quest to survive, including a lecherous work colleague, a homeless couple and a caged sewage worker, all of whom add pace and substance to the plot. There is a slightly awkward gear change somewhere in the middle of the film when tension thriller mutates into gore fest, but nothing so clumsy as to slow the hectic pace. For those of you with weak dispositions this is likely to be a harrowing ride; for those of you who relish a bit of well executed carnal mayhem this should press all the right buttons. The climax of the film is perhaps less successful than the main body of the film, but it is punctuated with a nice moment of unexpected social commentary which provides a satisfying conclusion. Some may find themselves feeling somewhat cheated of a clear explanation as to the exact nature and history of the threat encountered by Kate and her confederates, however, for me this was not the case. A horror film writer should not need feel compelled to dot every i and cross every t, in the same way a writer of political thrillers might be expected to. There are enough clues here to give you a very pretty clear idea of what brought this evil into existence, making a detailed and conclusive solution superfluous. The retention of a certain sense of mystery is to be welcomed and reminds us that in this film the ride was always going to be more important than the exact destination. My understanding is that the budget for this film was, to say the least, minimal, in which case our applause for this British horror should be all the louder, for at no point does one have the impression of corners being cut or effects failing to deliver. If this sounds like your kind of film then it probably is. Buy a ticket and climb aboard.", "label": 1, "domain": "movie_review", "token_count": 487, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0525", "text": "Not to be confused with the British black comedy of the same name that came out in 1994. But this Shallow Grave is a worthy addition to the 80's backwoods slasher. The plot goes = 4 sorority girls from a convent are planning the spring break of a lifetime in Florida, but they're plans are put on hold when one of them witness a man murdering a local woman, and when he realizes that he was seen, well let's just say it becomes a deadly game of cat and mouse and things get even worse when he turns out to be the local sheriff. Shallow Grave in my opinion is one of the more enjoyable slashers that came out in the 80's, especially the late 80's which was when the slashers kinda went downhill, this was one of the few that didn't and this movie should be more well known, it's a pity it isn't. this is one film that actually confounds stereotypes (just try guessing who the final girl is going to be - I got it totally wrong). The principle cast are all likable and it's one of those movies that you kinda hope they all get away, which of course they don't. This, coupled with the fluffiness of the film's first half-an-hour jars (in a good way) with some flashes of real nastiness (the second murder provides a real jolt) and some unexpected sleaziness (even though this isn't a high budget thriller I didn't expect the topless scene where a woman is strangled with her own bra (accompanied by a hysterical religious radio broadcast), in a film from this late in the 80's). There are one or two bad things about this movie, well not bad just minor, like the sub plot with the two teenage boys which doesn't go anywhere and the ending which was stupid and plus the Deputy inability to follow logic. There aren't any sharp implements in SHALLOW GRAVE but, to my mind at least, it's a slasher flick through and through. The scenes where the girls are hunted through the woods by the malevolent Sheriff are tense and exciting. All in all a very enjoyable and worthwhile slasher, with great performances from all four of the main girls and that psycho sheriff.", "label": 1, "domain": "movie_review", "token_count": 463, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0526", "text": "Some people say this is the best film that PRC ever released, I'm not too sure about that since I have a fond place in my heart for some of their mysteries. I will say that this is probably one of the most unique films they, or any other studio, major or minor, ever released. The plot is simple. The ghost of a wrongly executed ferryman has returned to the swamp to kill all those who lynched him as well as all of their off spring. Into this mix comes the granddaughter of one ghosts victims, the current ferryman. She takes over the ferry business as the ghost closes in on the man she loves. Shrouded in dense fog and set primarily on the single swamp set this is more musical poem than regular feature film.Listen to the rhythms of the dialog, especially in the early scenes, their is poetical cadence to them. Likewise there is a similar cadence to the camera work as it travels back and forth across the swamp as if crossing back and forth across the door way between life and death, innocence and guilt. The film reminds me of an opera or oratorio or musical object lesson more than a normal horror film. Its an amazing piece of film making that is probably unique in film history. This isn't to guild the Lilly. This is a low budget horror/mystery that tells you a neat little story that will keep you entertained. Its tale of love and revenge is what matters here, not the poetical film making and it holds you attention first and foremost (the technical aspects just being window dressing.) If there is any real flaw its the cheapness of the production. The fog does create a mood but it also hides the fact that this swamp is entirely on dry land. The constant back and forth across it is okay for a while but even after 58 minutes you do wish that we could see something else. Don't get me wrong I do like the film a great deal. Its a good little film that I some how wish was slightly less poverty stricken. Its definitely worth a look if you can come across it.", "label": 1, "domain": "movie_review", "token_count": 421, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0527", "text": "While not as famous as some of their other collaborations (such as THE BLACK CAT and THE BODY SNATCHER), this is a dandy little horror film even though the casting decisions were a bit odd. Boris Karloff plays Dr. Janos Rukh, a weird scientist who lives in the Carpathian mountains--near where the Dracula character's home town. Bela Lugosi plays Dr. Benet--whose nationality was never discussed though the name certainly sounds French. I really think it would have made sense to have the two switch roles, as the Carpathian role seems tailor made for Lugosi--especially with his accent. However, despite this unusual twist, the two still did excellent jobs. Karloff's was definitely the lead role, but Lugosi acquitted himself well as a relatively normal person--something he didn't play very often in films!! It seems that Dr. Rukh is a bit of a pariah, as other scientists (especially Benet) think his theories are bizarre and nonsensical. However, over the course of the film, Rukh turns out to be right and Benet is especially generous in his new praise for Rukh. But, unfortunately, the wonderful new element that Rukh discovered has the nasty side effect of turning him into a crazy killing machine (don't you hate it when that happens?). While this could have just been a simple nice scientist turned mad story, the plot was well constructed, the characters nicely developed and the mad Rukh was NOT a one-dimensional killer, but complex and interesting. This film is bound to be enjoyed by anyone except for people who hate old horror films. You can really tell that Universal Pictures pulled out all the stops and made a bigger-budget film instead of the cheap quickies both Lugosi and Karloff unfortunately gravitated in later years. Good stuff.", "label": 1, "domain": "movie_review", "token_count": 377, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0528", "text": "I only saw IPHIGENIA once, almost 30 years ago, but it has haunted me since. One sequence particularly stays in mind, and could only have been fashioned by a great director, as Michael Cacoyanis undoubtedly is. The context: the weight of history and a mighty army and fleet all lie on King Agamemnon's shoulders. An act of sacrilege has becalmed the seas, endangering his great expedition to Troy. He is told he must sacrifice his daughter Iphigenia to Apollo in order to gain the winds for the sails of the Thousand Ships. He initially resists, but comes around, and tricks his wife Clytemenstra to bring their daughter to the Greek camp in order to marry the greatest of all warriors, Achilles. Clytemnestra and Iphigenia arrive, find out about the sacrifice, and rage to the gods for protection and vengeance. Meanwhile, the proud Achilles discovers that his name has been used in this fraudulent, dishonorable way. He climbs a hill to tell Iphigenia that he will protect her. The shot: The camera circles the two young people, without looking directly at each other. They bemoan their fate, and the weakness of men that deceive their loved ones and lust for war. Suddenly, they gaze at each other and, for one moment, we feel both their power and beauty, and the unstated--except by the camera--irony that in another time, another place, they perhaps could love each other and be married. It is a sharp and sad epiphany that lasts only for an instant. What direction! What camera! What storytelling!", "label": 1, "domain": "movie_review", "token_count": 340, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0529", "text": "This docu-drama is what you would expect from Richard Attenborough, the man who gave us \"Gandhi\": beautifully photographed, compellingly casted, well written in the measured, literate manner that Hollywood discarded in the 30's, and scrupulously accurate. It stands out as a genre film, excelling in its portrayal of native American (or, more appropriately for its Canadian setting, \"First Nations\") culture and standing with \"Black Robe\" as a wonderfully photographed piece of Canoe Country and its culture (here, circa 1934). This idyllic portrait derives drama from its subject: Archie \"Grey Owl\" Belaney, a Scot raised in Hastings (England) by maiden aunts who became so obsessed with the \"red indian\" tales of his childhood that he went to Canada, disappeared into the woods, and became a trapper and adopted son of an Ojibway band. He was a vain man with a habit of marrying and abandoning Indian brides, none of whom seem to have thought less of him for it, for he was also an extraordinarily charming and picaresque character. One of his wives (one smarter than he, by most accounts) propelled him into fame as a writer and early advocate for protecting the wild country of the North, and this forms the focus of Attenborough's tale. The chemistry between Brosnan and Annie Galipeau (as Grey Owl's wife Pony) is engaging and, if not firey, is nonetheless quite touching. A good film when you need some time from the madding crowd.", "label": 1, "domain": "movie_review", "token_count": 322, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0530", "text": "On paper, this movie would sound incredibly boring. The idea of a 75-year-old man traveling the country-side on a riding mower certainly doesn't have much appeal to it, but the real power behind the film is its charm and its intelligence. Writers will not find a better study of what makes a movie work than \"The Straight Story.\" The perfect example of this is a scene in which Alvin meets a runaway teenage girl. She's pregnant and afraid of what her parents would do if they found out. Alvin tells her a story about his own kids, long ago. He had them each take a stick and break it, which they could easily do. Then he had them bundle the sticks and try to break them. \"That bundle,\" he said, \"is family.\" So many other movies would feel compelled to continue and make sure we knew that an individual could be broken but together the members were stronger. \"The Straight Story\" realizes that we're smart enough to understand this and simply leaves us to contemplate the thought and draw our own conclusions. Alvin's journey across Iowa is full of such refreshingly un-Hollywood character interactions. Each interaction is full of warmth and humor, and Alvin is so cute riding his mower that we can't help but smile as he makes his way to Wisconsin to make peace with his brother, Lyle, who has suffered a stroke. And the simplicity of the final scene emphasizes that the real story here is not the destination but the journey. It's a journey in which Alvin shares his life with everyone he meets--to their benefit and ours. It's a slow, simple, relaxing ride meant to remind us of all that we've lost with the urbanization of America. \"The Straight Story\" is the rare live-action \"G\"-rated movie that truly should not be missed. Grade: A", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0531", "text": "Greetings again from the darkness. 18 directors of 18 seemingly unrelated vignettes about love in the city of lights. A very unusual format that takes a couple of segments to adjust to as a viewer. We are so accustomed to character development over a 2 hour movie, it is a bit disarming for that to occur in an 8 minute segment. The idea is 18 love/relationship stories in 18 different neighborhoods of this magnificent city. Of course, some stand up better than others and some go for comedy, while others focus on dramatic emotion. Some very known directors are involved, including: The Coen Brothers, Wes Craven, Alfonso Cuaron, Alexander Payne, Gus Van Sant and Gurinda Chadha. Many familiar faces make appearances as well: Steve Buscemi, Barbet Schroeder, Catalina Sandino Moreno, Ben Gazzara, Gena Rowlands, Gerard Depardieu, Juliette Binoche, Willem Dafoe, Nick Nolte, Maggie Gyllenhaal and Bob Hoskins. One of the best segments involves a mime, and then another mime and the nerdy, yet happy young son of the two mimes. Also playing key roles are a red trench coat, cancer, divorce, sexual fantasy, the death of a child and many other topics. Don't miss Alexander Payne (director of \"Sideways\") as Oscar Wilde. The diversity of the segments make this interesting to watch, but as a film, it cannot be termed great. Still it is very watchable and a nice change of pace for the frequent movie goer.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0532", "text": "Samuel Fuller is an interesting filmmaker, mainly because he had some very inconsistent politics in his films. While \"Shock Corridor\" and \"The Naked Kiss\" represented the hypocrisies and lunacy of America and \"The Big Red One\" was an effective portrait of the horrors of war, \"Merrill's Marauders\" painted war as necessary hell and \"Pickup on South Street\" is about the dangers of communist spies. All of his films make for very entertaining viewing, and even though he was often pigeonholed as a b-filmmaker, Fuller was just as good as any of the major studio contractors. \"Pickup on South Street\" is no exception, and despite the dated themes, the film-making style is remarkably ahead of its time. Its also a very quickly-pace, tight, and occasionally brutal film noir. The acting across the board is fantastic. Richard Widmark makes for a great anti-hero and Jean Peters is quite sexy as a girl who works for her communist spy boyfriend. The show stealer is Thlema Ritter however, in an absolutely delightful performance as a police stoolie. The angles Fuller employs are great, making the acting sequences all the more exciting and brutal (this is very violent for its time). The camera continuously moves around just as Tarantino and his school would do forty years later. \"Pickup on South Street\" is a great action-paced noir thriller. \"Shock Corridor\" remains my favorite Fuller film, but this is a very close second. (8/10)", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0533", "text": "This is the last Dutch language film Paul Verhoeven made before going on to make mainstream Hollywood films \"Basic Instinct,\" \"Robocop,\" and \"Total Recall,\" among others. He sets the stage by opening this story with a black widow spider catching prey in her web before we meet Gerard Reve, an annoying self-centered writer with a morbid imagination. Gerard has been invited to be the guest speaker at a Literary Club meeting in sea-side town an hour or so from Amsterdam. Verhoeven lets us have glimpses of how Gerard's imagination twists reality. Asked if writers are a bit close to insanity he admits when he reads the newspaper \"and it says 'boom' I read 'doom,' when it says 'flood' I read 'blood,' when it says 'red' I see 'dead.'\" When he tells a story enough times he begins to believe it; \"I lie the truth.\" He accepts an offer to be the overnight guest of the Club treasurer, a beautiful wealthy salon owner. As he gets to know her and learns her husband has died, he begins to imagine she is 'a black widow.' Is this his more of his reality twist or is she a murderess? This is a psychological drama and in recounting which of these old films have stuck in my memory, I figured out is my favorite gender. Looking at his body of work it is seems to be Paul Verhoeven's too, and he is a master in making us question our own understanding of reality. It's a nice change of pace from the usual Hollywood fare. I saw it in 1983 and it is a film that \"stuck.\"", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0534", "text": "This is probably one of the most original love stories I have seen for ages, especially for a war based (briefly) film. Basically it is a story based in two worlds, one obviously real, the other fictitious but the filmmakers say at the beginning that it is only coincidence if it is a real place. Anyway, Peter Carter (the great David Niven) was going to crash in a plane, he talked to June (Planet of the Apes' Kim Hunter) before he bailed out and said he loved her. He was meant to die from jumping without a parachute, but somehow he survived, and now he is seeing and loving June in the flesh. This other place, like a heaven, is unhappy because he survived and was meant to come to their world, so they send French Conductor 71 (Marius Goring) to persuade him to go, but he is obviously in love. Peter suggests to him that he should appeal to keep his life to the other world's court, he is granted this. Obviously love prevails when the two lovers announce that they would die for each other, June even offers to take his place! Also starring Robert Coote as Bob Trubshawe, Kathleen Byron as An Angel, a brief (then unknown) Lord Sir Richard Attenborough as An English Pilot and Abraham Sofaer as The Judge/The Surgeon. David Niven was number 36 on The 50 Greatest British Actors, the film was number 86 on The 100 Greatest Tearjerkers for the happy ending, it was number 47 on The 100 Greatest War Films, it was number 46 on The 50 Greatest British Films, and it was number 59 on The 100 Greatest Films. Outstanding!", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0535", "text": "Since their nasty divorce from the Disney Company (with Disney keeping the Miramax brand) the Weinstein Company seems to specialize in above average movies which are then under-promoted and seen by few. THE FLOCK is a prime example. A story about the civil servants who have the nasty job of keeping track of registered sex offenders, this picture will tell you more about sex criminals than an entire season of Law and Order - SVU. Richard Gere gives his best-ever performance as the soft-spoken agent worn-out by the task. Claire Danes for once has the opportunity to get into a solid role (instead of the junk she normally gets stuck in) and she makes the most of playing the novice. The cinematography, pacing, editing, all of it is first rate --- and I saw no trace of the attention-deficit-disorder camera jump-around or excess camera cuts that others complained about. The subject is handled with restraint, but it's still a tough subject and might make you sick. Fifty years ago there was almost no problem with the kinds of sex crimes herein shown in abundance which will shock even the jaded. Then came the Supreme Court decisions which simultaneously tied police hands as the \"rights\" of sex perverts were opened up and America was turned into a shopper's paradise for sexual perversity, both willing and unwilling. Each such step was met with praise by Liberals, who celebrated the Warren Court's ill deeds with glossy covers on Time and Newsweek. Everyday liberals also praised the Court's action and mocked those who disagree. In 2007 how many Americans know that the kind of pornography that depicts savage violence and torture of young women -- can be subscribed to, and delivery of it is subsidized by the discount periodicals rate by the US Post Office. Just one part of the problem -- a problem that can tare anyone's family to shreds. Richard Gere is a Liberal, but he gives his best in his performance here. Perhaps in his maturing age he's gained a measure of wisdom.", "label": 1, "domain": "movie_review", "token_count": 407, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0536", "text": "Thankfully saw this on a plane to Singapore recently (thought I'd missed it at the Cinemalaya filmfest). Paris, je t'aime is a collection of 20 short films (about 5 mins each) by 20 directors showing love in various pockets of contemporary Paris. One of my fave segments is 'Parc Monceau' by Alfonso Cuarn (Great Expectations, Harry Potter and the Prisoner of Azkaban), which was done in one continuous shot and features Nick Nolte. The Coen brothers' 'Tuileries' starring Steve Buscemi as a tourist in the metro was hilarious ! Juliette Binoche and Willem Dafoe in 'Place des Victoires' was haunting. For Maggie Gyllenhaal as an American actress/druggie in 'Quartier des Enfants Rouges' to have portrayed anticipation and heartbreak in such a short period of time was just brilliant. Elijah Wood as a vampire victim in 'Quartier de la Madeleine' was pretty surreal, while Emily Mortimer and Rufus Sewell played a cute couple in Wes Craven's 'Pre-Lachaise'. Natalie Portman was beautiful as usual as the actress girlfriend of a visually impaired French boy in 'Faubourg Saint-Denis'. But despite the many portrayals of young love, a more mature execution by Gena Rowlands in 'Quartier Latin' was equally aww-inducing. This movie is perfect for those with ADHD because each sequence is driven and carefully thought of. There are also a number of memorable quotes. One in particular is this one from a cheating husband who eventually leaves his mistress to stay with his dying wife in her last days: \"In pretending to be a man in love, he became a man in love.\"", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0537", "text": "Funny. Sad. Charming. These are all words that floated through my head while I was watching this beautiful, simple film. It is rare that a movie truly moves me, but \"Shall We Dance?\" accomplished that with grace to spare. Gentle humor mixed in with occasional subtle agony made this easily one of the best experiences of my movie-viewing history. It left me with a quiet sense of exultation, but with a small touch of sadness mixed in. And the dancing, oh yes, the dancing. Even if you are not a lover of the art, or can't put one foot in front of another, the steps displayed here will take your breath away, and make you want to sign up for classes as fast as you can. It was absolutely enchanting, even the parts that show Sugiyama's (touchingly portrayed by Koji Yakusho) stilted steps when he was first learning to dance were lovely in a humorous, child-like way. And yet, this film was not entirely about dancing, but more about the subtleties of human behavior and feelings. We witness a shy man learning to express his repressed feelings through dance, a beautiful dance instructor rediscovering her love for the art, and the personal growth of every member of the wonderful supporting cast. Beauty. Pain. Emotion. All the love and little agonies of life are here, expressed with the delicate feeling of a fine Japanese watercolor painting combined with the emotional strength and grace of the culture.", "label": 1, "domain": "movie_review", "token_count": 305, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0538", "text": "Here's yet another film from the 80's that most people just don't know exists. This slow, picturesque (the loving shots of the Montana landscapes are breathtaking and reminded me of Costner's recent \"Open Range\", which also starred Robert Duval), and emotionally satisfying film is the perfect type of movie to watch late one night when you can't sleep or on a listless Sunday afternoon. Those in the right mood will be treated to a finely detailed and intimate look at the grief of one family and how they come back together after the youngest son accidentally shoots and kills the eldest son while hunting. The performances are all top notch and quietly nuanced. Glenn Close, Robert Duval, and Wilford Brimley are pitch perfect in their portrayals, as are all the supporting players and young actors. I especially liked how director Cain (who unfortunately hasn't directed anything of note since this except the first \"Young Guns\") gives us quiet little glimpses into everyone's personal grief. We don't just see how the death effects the younger brother or the parents, but also the confused middle sister, the wayward uncle, his crazy wife, and the dead teenager's girlfriend. What we essentially get here is the rural Mid-Western answer to \"Ordinary People.\" There's also shades of David Lynch's \"The Straight Story\" in some of the stoic downhome Mid-West morality of the folks depicted here and also in the lovingly haunting shots of the farmland they inhabit. This is one of the better and more realistic \"tear-jerkers\" of the era, and a nice little find for you quality movie hunters out there.", "label": 1, "domain": "movie_review", "token_count": 332, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0539", "text": "Recently I was looking for the newly issued Wide Screen DVD of FLY AWAY HOME and came upon interesting title that I had never heard of: GREY OWL. The fact that it was a Richard Attenborough Film caught my attention (he responsible for such fine films as GANDHI, CHAPLIN, and SHADOWLANDS). I noticed that the screenplay was by William Nicholson (author of SHADOWLANDS). This \"Special Edition\" was full of interesting sounding material and the price was just under $10.00 -- so I chanced it & bought it. WOW! What a beautiful film. Pierce Brosnan stars as Archie Grey Owl, a real life trapper in the 1930s, who came to love and respect the wild lands of Canada, and worked to help protect them. Brosnan (who starred in a James Bond film) gives a shaded, warm, powerful performance as does Annie Galipeau as the young woman who loves and influences his feeling for the creatures of the land -- especially the beaver. A fine score by George Fenton (THE CRUCIBLE) and beautiful photograhy by Roger Pratt add greatly to the effectiveness of the film. AND the extras on this DVD are something else! Includes two shorts made in the 1930s with the real Grey Owl as well as audio commentary tracks by Attenborough and Producer Jake Eberts; 2 Featurettes; and many other fine additions PLUS options for those having access to a PC with DVD-ROM features. GREY OWL has been released directly to DVD in the United States -- a fact that Richard Attenborough attributes to Hollywood's lack of interest in distributing something that isn't loaded with a lot of violence and sex. This is a film that not only informs and entertains but leaves you with something to think about. I had a very warm feeling at the films conclusion -- and a whole new love and understanding for beavers! GREY OWL is a very fine film -- worth checking out! This is one I look forward to sharing with others.", "label": 1, "domain": "movie_review", "token_count": 420, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0540", "text": "Sadly, 8 Simple Rules, for dating my teenage daughter, was the last sitcom that John Ritter got to work on after his tragic death in 2003. He was one of my all time favourite actors. He had it all, comedy (who can forget him in Three's Company) but he was also an excellent dramatic actor (Unforgivable – worth watching TV movie) As much I loved all the other cast members of the show (Katey, Amy, Kaley and Martin) John was THE star, he was much of the reason I was drawn to the show in the first place, and it was his perfect comedic delivery that was able to crack me up each and every time. I loved how the show wasn't all sugary sweet (as much as I loved The Cosby Show, come on, they were too nice to each other lol) they portrayed the typical family dynamics brilliantly. It was realistic enough what with all the sibling rivalry and the squabbles between parents, but they still kept it funny. A lot of American sitcoms try and fill the shows entirely with morals and what not, and this show didn't do that. Yes, there were some, like tackling important issues, such as drugs and bullying, but they didn't try and be anything other than a fun family comedy. The way they wrote John's death in to the show was brilliantly done, I still sob like a baby each time I see it. You could feel how raw the emotions were during those incredibly hard episodes. I'm sad the show was cancelled, I still enjoy watching the reruns, and I never get tired of it. John Ritter, you'll always be remembered for you hilarious depiction of this over protective father, who would rather lock his daughters up in their room than have them date a boy =) You rock Ritter!!!", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0541", "text": "Someone release this movie on DVD so it can take its hallowed place as on of the greatest films of all time in ten to twenty years when critics and film historians look back on the so-called films of the 1990's and see how vapid they were for the most part, and how Lars Von Trier tried to revolutionize and revitalize the international film world with this masterpiece. As it stands, \"Zentropa\" (or \"Europa\" as it is referred to outside the US) is one of the most fascinating and artistic views of the bleakness and almost psychotic uncertainty that oozed out of post WWII Europe, namely the decimated German landscape, whose physical horrors were matched only by the damage to the psyche of its people. Von Trier brilliantly paints his vision on screen. You will feel like you are watching some lost espionage noir classic from the late 1940's with the perfectly lighted black and white scenes, while at the same time feel you are on the brink of something beyond the cutting edge, especially in scenes like the assassination aboard the train. Literally, when you see this movie, you are witnessing the evolution of an art form. For some reason, Von Trier got caught up in his own Dogma movement shortly after this. And while his \"Breaking the Waves\" and \"Dancer in the Dark\" are classics in their own right, it is with \"Zentropa\" that he truly lifted the art of film making to new and exciting heights. 10/10, ages like a fine wine, and begs for a DVD release.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0542", "text": "This was one of the DVD's I recently bought in a set of six called \"Frenchfilm\" to brush up our French before our planned holiday in beautiful Provence this year. So far, as well as improving our French we have considerably enhanced our appreciation of French cinema. What a breath of fresh air to the stale, predictable, unimaginative, crash bang wallop drivel being churned out by Hollywood. What a good example for screenplay writers, actors, directors and cinematographers to follow. It was so stimulating also to see two identifiable characters in the lead roles without them having to be glossy magazine cover figures. The other thing I liked about this film was the slow character and plot build up which kept you guessing as to how it was all going to end. Is there any real good in this selfish thug who continually treats his seemingly naïve benefactor with the type of contempt that an ex-con would display? Will our sexually frustrated poor little half deaf heroine prove herself to the answer to her dreams and the situation that fate has bestowed upon her? The viewer is intrigued by these questions and the actors unravel the answers slowly and convincingly as they face events that challenge and shape their feeling towards each other. Once you have seen this film, like me you may want to see it again. I still have to work out the director's psychological motive for the sub plot in the role of the parole officer and some of the subtle nuances of camera work are worth a second look. The plot does ask for a little imagination when our hero is given a chance to assist our misused and overworked heroine in the office. You must also be broad minded to believe in her brilliant lip reading and how some of the action falls into place. But if you go along for the thrilling ride with this example of French cinema at its best you will come out more than satisfied. Four stars out of five for me.", "label": 1, "domain": "movie_review", "token_count": 382, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0543", "text": "Budget limitations, time restrictions, shooting a script and then cutting it, cutting it, cutting it... This crew is a group of good, young filmmakers; thoughtful in this script - yes, allegorical - clever in zero-dollar effects when time and knowledge is all you have, relying on actors and friends and kind others for their time, devotion, locations; and getting a first feature in the can, a 1-in-1000 thing. These guys make films. Good ones. Check out their shorts collection \"Heartland Horrors\" and see the development. And I can vouch, working with them is about the most fun thing you'll do in the business. I'm stymied by harsh, insulting criticism for this film, wondering if one reviewer even heard one word of dialogue, pondered one thought or concept, or if all that was desired of this work was the visual gore of bashing and slashing to satisfy some mindless view of what horror should mean to an audience. Let \"The Empty Acre\" bring itself to you. Don't preconceive what you expect it should be just because it gets put in the horror/thriller genre due to its supernatural premise. It's a drama with depth beyond how far you can stick a blade into someone with a reverence for a message that doesn't assault your brain's visual center, but rather, draws upon one's empathetic imagination to experience other's suffering of mind and spirit. mark ridgway, Curtis, \"The Empty Acre\"", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0544", "text": "It's amazing that from a good, though not wonderful, film made back in the early Nineties, a whole franchise can grow. 'Stargate; SG1' is, without a doubt, a worthy addition to the science fiction genre and has the right to stand shoulder-to-shoulder with 'Star Trek' as the kings of sci-fi. Following on from the 1994 feature film 'Stargate', this series sees Stargate command (a military/science organisation) figuring out that the stargate system can be used to travel to various planets across the galaxy and beyond and the military sets up a number of teams to explore. SG1 is one such team, headed by military veteran Colonel Jack O'Neill, and includes archaeologist Doctor Daniel Jackson, military scientist Captain Samantha Carter and alien Teal'c, who has betrayed his overlord leaders in the hopes of one day freeing his people. Earth quickly makes an enemy of the Goa'uld, a parasitic race who use humans as hosts and think themselves equal to gods. The top-notch cast have much to be congratulated for in bringing this show to life. Richard Dean Anderson is perfect as the cynical and sarcastic O'Neill, who can shift from boyish to deadly in the blink of an eye. Michael Shanks, as Daniel, brings heart and an will of steel to the character, who has grown from wide-eyed innocence to darker and more hard-bitten as the show has progressed. Amanda Tapping, as Carter, has perfected the balance between depicting her character's femininity without comprising the fact she is a strong, intelligent military scientist. Christopher Judge is excellent as the aloof Teal'c, who is able to depict the character's emotions with subtlety. And Don S Davis is perfect as the esteemed General Hammond who leads with a good balance of fairness and firmness. Almost all the episodes are are involving and portrayed with intelligence, reflecting on moral dilemmas as well as the friction between military interests and civilian beliefs (often shown through arguments between O'Neill and Jackson). Guest characters are solidly depicted and story arcs are handled in a manner that doesn't bore viewers. SG1 also excels in humour, from O'Neill's wisecracks to episodes that are just wacky and odd! SG1 has everything from action to drama to romance to suspense to the heartbreaking scenes of death. It isn't just an excellent sci-fi show but is an excellent show, overall.", "label": 1, "domain": "movie_review", "token_count": 500, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0545", "text": "First off, I'm not some Justin Timberlake fangirl obsessed with making him look good, in fact I'm not even a huge Justin fan, but I did like this movie. I work at a video store and when I saw this movie with its huge cast that I'd never even heard of I had to see what it was about. I didn't find Justin's acting that bad, it was clearly the worst out of the group, but it's a pretty impressive group, with Cary Elwes and Dylan McDermott being two names that didn't even make the first credits list. The story is basic, a journalist uncovering corrupt cops, but I found it well done. L L Cool J's character was clearly conflicted, but I honestly didn't know what he would do in the end. Morgan Freeman is as always, the wise mentor figure he does so well, and as much as I love Kevin SPacey, he was kind of just there. HIs character didn't have a whole lot of substance, but it's Kevin Spacey, he can do no wrong. Surprisingly I thought Dylan McDermott gave the best performance as a homicidal cop. Truly believable and really in character, he freaked me out a couple of times. I was really expecting a lot of cheesiness to be honest. Horrible catchphrases, unjustified action sequences, stuff like that, but it was surprisingly well done and I didn't find any of that. Every shooting had a point, it wasn't clichéd, pretty solid really. overall, amazing cast, decent story that kept me interested and just enough action to make me jump. I don't know why it didn't appear in theatres, it was better than some garbage I've seen on the big screen. I would say it's worth seeing.", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0546", "text": "There are no people like \"Show People\" Marion Davies (as Peggy Pepper) and William Haines (as Billy Boone). My introduction to Ms. Davies was a \"clip\" from this film; the delightfully spoofy one in which she lowers a scarf to reveal different emotions. My introduction to Mr. Haines was in viewing this film, presently; though, it's possible I've seen him in a less memorable role. Haines makes an incredible impression, when he joins Davies for a commissary meal - tossing his hat into the ring with some wonderful bits at the dining table. Indeed, Haines and Davies deliver great comic performances. The story starts off with Dell Henderson (Colonel Pepper) driving daughter Davies into Hollywood, certain she will become Tinseltown's newest sensation. Indeed, Davies and the already arrived Haines become comedy stars. But, Davies yearns to become a true drama queen. Davies leaves Haines, and partners up with the dashingly dramatic Paul Ralli. But, audiences prefer Davies in more comic roles; perhaps director King Vidor is offering up a case for art imitating life? Full of great Hollywood location footage, both on the set, and off. Full of great \"cameos\"; at a studio lunch, at the stars' table, Davies sits between Douglas Fairbanks and William S. Hart. The best \"bit\" player, however, is Charlie Chaplin, who has enough nerve to ask Davies for her autograph! While the cameos are fun, they, and the episodic sequences, do help \"Show People\" become less of an important film, and more of an important historical document. ******** Show People (11/11/28) King Vidor ~ Marion Davies, William Haines, Dell Henderson", "label": 1, "domain": "movie_review", "token_count": 359, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0547", "text": "Stargate SG-1 follows and expands upon the Egyptian mythologies presented in Stargate. In the Stargate universe, humans were enslaved and transported to habitable planets by the Goa'uld such as Ra and Apophis. For millennia, the Goa'uld harvested humanity, heavily influencing and spreading human cultures. As a result, Earth cultures such as those of the Aztecs, Mayans, Britons, the Norse, Mongols, Greeks, and Romans are found throughout the known habitable planets of the galaxy. Many well-known mythical locations such as Avalon, Camelot, and Atlantis are found, or have at one time existed. Presently, the Earth stargate (found at a dig site near Giza in 1928) is housed in a top-secret U.S. military base known as the SGC (Stargate Command) underneath Cheyenne Mountain. Col. Jack O'Neill (Anderson), Dr. Daniel Jackson (Shanks), Capt. Samantha Carter (Tapping) and Teal'c (Judge) compose the original SG-1 team (a few characters join and/or leave the team in later seasons). Along with 24 other SG teams, they venture to distant planets exploring the galaxy and searching for defenses from the Goa'uld, in the forms of technology and alliances with friendly advanced races. The parasitic Goa'uld use advanced technology to cast themselves as Egyptian Gods and are bent on galactic conquest and eternal worship. Throughout the first eight seasons, the Goa'uld are the primary antagonists. They are a race of highly intelligent, ruthless snake-like alien parasites capable of invading and controlling the bodies of other species, including humans. The original arch-enemy from this race was the System Lord Apophis (Peter Williams). Other System Lords, such as Baal and Anubis, play pivotal roles in the later seasons. In the ninth season a new villain emerges, the Ori. The Ori are advanced beings with unfathomable technology from another galaxy, also bent on galactic conquest and eternal worship. The introduction of the Ori accompanies a departure from the primary focus on Egyptian mythology into an exploration of the Arthurian mythology surrounding the Ori, their followers, and their enemies—the Ancients.", "label": 1, "domain": "movie_review", "token_count": 458, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0548", "text": "My Take: A goofy, yet imaginative mess. Keanu Reeves (Yes! That Keanu Reeves) and Alex Winter return as the two punk-rock idiots in this sequel to the time-trotting adventure comedy BILL AND TED'S EXCELLENT ADVENTURE, now a cult classic. In this sequel, Bill and Ted are given much more to do than travel through time. They might as well travel Heaven and Hell too! During the beginning of this sequel, Bill and Ted are preparing for a \"Battle of the Bands\" competition which may make them more famous than ever. Meanwhile, many years in a futuristic civilization, the time-wizard from the first film (the always watchable George Carlin) is running a university praising Bill and Ted's names. There, an evil tyrant (Joss Ackland, from THE HUNT FOR RED October) plots to get rid of the two idiot rock-stars once and for all. So he sends two identical android replicas (In the words of Bill and Ted: Robot Us's) to do the dirty job. There after, Bill and Ted experience death and must find their way through Hell, with inhabitants that happens to include the duo's worst memories, and then through Heaven in an attempt to get back to earth to save their girlfriends... and their show. Along this whacked-out voyage, they play board games with none other than Death (William Sadler, from DIE HARD 2), reminiscent to a similar moment in the 1957 foreign film classic THE SEVENTH SEAL, aid help from a couple of intelligent alien beings and more. BOGUS JOURNEY's array of exuberant special effects gimmicks aren't up to to-date standards, and even some of the humor and the for-the-time look and feel are somewhat dated (to be honest, the film also feels like it was released on the wrong year, even for the 90's). But with it's no little lack of imagination and a lively turn by both the performances and direction, BILL AND TED'S BOGUS JOURNEY is fun, imaginative, and yes, bogus. Rating: ***1/2 out of 5.", "label": 1, "domain": "movie_review", "token_count": 441, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0549", "text": "In my opinion this has to be one of Barbara Stanwyck's best performances. She was one of only a handful of actors, then and now, who could say more with a single look than an entire page of dialogue. And I was lucky enough to see the original and uncensored movie, with the extra 4 minutes of additional footage. Too bad the movie is so short. Lily is a young woman barely holding it together working for her father in his illegal speakeasy. Her only link to anything is her good friend, Chico, played wonderfully by Theresa Harris. Though Chico is African American (and having a white woman be best friends with a black woman back in the 30s was as controversial as the subject matter of this movie), and Lily is not, they have a special bond. And it is not sexual. Just 2 women stuck, or shoved, into a situation beyond their control. After Lily's father dies, and she does not know what she will do, she is told that she has the power to get out and to get what she wants. Yes, it's immoral, but that's the entire point of this movie. Then \"they\" had to go and ruin the last few minutes. So, up until the last few minutes of the movie, it's a superb film and worth watching. The \"lesson\" of the movie is still as valid today as it was back then, and I'm sure will be a 100 years from now. Women, it's awful what Lily does in order to get what she wants, but it works. Men, take note.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0550", "text": "The only other film besides Soylent Green that has such an air of hopelessness is On the Beach. Both films deal with the consequences for the species and the planet from man made cataclysms. On the Beach with nuclear war and Soylent Green with the environmental poisoning of the planet. Maybe there's cause for some optimism because as of 2007 we haven't reached either of the worlds described in those films and we were supposed to by now. New York City still has about 8 million people not the 22 million by the turn of the millenia as described in Soylent Green. Environmentalists always hail this film as showing the consequence of global warming. For myself it also shows the Right to Life ethic run amuck. Obviously there's no family planning in this world either. Charlton Heston is an NYPD detective who lives with room mate Edward G. Robinson who's old enough to remember the Earth before catastrophe struck. There's been a murder committed, Joseph Cotten an executive with the Soylent Corporation, a multi-national concern that has come up with a food product, some kind of wafer in many colors to feed the world's population. It's latest product is Soylent Green. The investigation finds Charlton Heston getting his man, but also it leads to some horrifying truths about the Soylent Corporation and the future of mankind. As Heston shouts in the end that Soylent Green is made of people, that we've become a race of cannibals, the horrifying thing is that there is no alternative. We've exhausted the planet and we have to eat our dead to survive. This was the farewell performance of Edward G. Robinson and in his memoirs Heston spoke movingly of Robinson even though they had differing political views. A few weeks after Robinson wrapped that final scene of his screen demise by consented euthanasia, he passed away in real life. Not many did, but Heston knew that Robinson was terminally and there was no acting involved in that final death scene between the two of them. Though the timetable was off, it doesn't mean that the world envisioned by Soylent Green may not come to pass. Hopefully we'll have not just the intelligence, but the sense of shared responsibility to keep that from happening.", "label": 1, "domain": "movie_review", "token_count": 470, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0551", "text": "...would probably be the best word to describe this film (in my opinion). besides one great heck of a fan service for fan girls (well, that was redundant~), it was the story that blew me away. hurray for Takahisa Zeze and Gackt! and i know some people will disagree with me on this one, but it wasn't any of the big three actors (the guys that played Sho, son, and Kei) that gave the best performance (for me, anyway). it was Taro Yamamoto, boy #5 from battle Royale! don't get me wrong, i like Hyde, i worship his voice, but the problem was that some of his scenes came a little bit 'off', but i loved that scene where he danced with the dead guy's body killing the other guys. and Gackt wasn't at all that bad too, i preferred how his character was kind of aloof from the start. nothing much i can say about my background on lee-Hom Wang, i won't pretend to know him, but he carried his own weight with the star-studded cast. this movie paved the way for one of the best collaborations I've ever heard, Orenji No Taiyou (forgive my spelling if it's wrong). while the complete song lasts about nine minutes, you wouldn't notice the length because you'd be enjoying hearing Gackt and Hyde together. anyway, this movie is a must-see not only for the fans (huge fan base~) but for those who enjoy sci-fi, futuristic movies, Asian-style.", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0552", "text": "Hey now, I can't claim to have seen all of the films of Jesse (Jesus) Franco, and there sure seem to be a lot of them, but this is one of the better (and weirder) of the lot that I have seen. I'd say most likely he was in his prime back in the late sixties/early seventies and anything lately has been a bit TOO strange for me, and it takes a lot for me to declare that. Anyway, this is like one big bad dream where parts of it seem to come true at various points. This woman is an actress or something, performs in some theater in Berlin where acts of \"fake\" torture are performed for an appreciative audience (?!) and she seems to have this problem with dreaming. The catch to what's real and what's not in this movie is apparently the real stuff is in sharp focus and the dream stuff isn't. She seems to exist in a state of deja vu. I won't say this makes a whole lot of sense but it is pretty wild and weird and entertaining. Shots of Berlin make it seem like a lonely and creepy place, so that adds to the atmosphere. The ending is extremely abrupt though, the film just ends and the tape went black, I guess no need to let you know it was over at that point. My copy was from the Anchor Bay Euro-Trash collection, and I say, give me more Euro-Trash, I can't get enough of that crap. But it's GOOD crap.", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0553", "text": "This police procedural is no worse than many others of its era and better than quite a few. Obviously it is following in the steps of \"Dragnet\" and \"Naked City\" but emerges as an enjoyable programmer. The best thing about it is the unadorned look it provides into a world now long gone...the lower class New York of the late 40's/early 50's. Here it is in all its seedy glory, from the old-school tattoo parlors to the cheap hotels to the greasy spoons. These old police films are like travelogues to a bygone era and very bittersweet to anybody who dislikes the sanitized, soulless cityscape of today. Also intriguing is the emphasis on the nuts-and-bolts scientific aspect of solving the crime...in this case, the murder of a tattooed woman found in an abandoned car. Our main heroes, Detectives Tobin and Corrigan, do the footwork, but without the tedious and painstaking efforts of the \"lab boys\", they'd get nowhere. Although the technology is not in the same league, the cops here use the dogged persistence of a C.S.I. investigator to track down their man. The way some reviewers have written about this movie, you think it would have been directed by Ed Wood and acted by extras from his movies. What bosh! I enjoyed John Miles as the gangly ex-Marine turned cop Tobin...he had a happy-go-lucky, easy-going approach to the role that's a welcome change from the usual stone-faced histrionics of most movie cops of the period. Patricia Barry is cute and delightful as his perky girlfriend who helps solve the crime. Walter Kinsella is stuffy and droll as the older detective Corrigan. I rather liked the chemistry of these two and it made for something a bit different than the sort of robotic \"Dragnet\" approach. The mystery itself is not too deep and the final chase and shoot-out certainly won't rank amongst the classics of crime cinema, but during it's brief running time, \"The Tattooed Stranger\" more than held my interest.", "label": 1, "domain": "movie_review", "token_count": 437, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0554", "text": "CITY HALL is a somewhat mixed bag. Part vignettes of NYC political life, and part moralizing tale. Al Pacino, a Dukakis-esque Boss with Presidential dreams, gives an oft times sullen or subdued performance. There's a couple times when he chews the scenery, and in the case of CITY HALL, this is where he shines. John Cusack gives a subdued and generally flawless performance, without going into caricature of a New Orleans dialect, or sliding into melodrama during the films climax. Danny Aiello as a burrough political chief, is also very good. I love showtunes, too. The major problem with CITY HALL, and it is a good movie in many ways, is the general feeling of a lack of momentum. It comes off more like a documentary, than a motion picture. We see the action or follow the story from a detached perspective, and naturally, the viewer doesn't become involved. When the viewer doesn't get involved to a certain degree, they become apathetic towards the characters, and eventually, the plot. This tends to alienate, and what should have been a riveting, detail divulging finale, came off as a \"Hmmm...uh...okay.\" They say you \"Can't fight city hall,\" as the tread worn cliche goes. Yet, it still can't stop you from thinking what might have been, if they had just tightened up the screenplay and pacing of this movie.", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0555", "text": "Sur mes lèvres or READ MY LIPS is fine little thriller that also examines the lives of 'outsiders', people who live in the periphery of our vision who struggle with the need to 'fit in'. Director Jacques Audiard with and co-writer Tonino Benacquista have created a tense, tight, completely entertaining little thriller that makes some significant statements about out of the norm individuals and their plights. Carla (Emmanuelle Devos) is a plain Jane, mostly deaf, thirty something unnoticed secretary for a company whose life is one of social and sexual isolation and whose view of the future is rather bleak. Enter Paul (Vincent Cassel) a recent released ex-con parolee who responds to an ad to be Carla's assistant. There is a mutual physical repulsion at first meeting: Carla had hoped for a well-groomed, genteel man who might fulfill her fantasies and Paul is a coarse, unkempt sleazy guy who is not impressed with being a clerk. Their concepts change rather quickly when Paul salvages Carla's job by filling her request to steal a letter that would cost her her job and Paul discovers Carla's lip reading ability which he sees as a way to spy on the criminals from his past who threaten his life for money owed. So this odd couple of a team join forces and together enter a dangerous suspense filled ploy to gain Paul's safety and freedom. The relationship is full of twists and edge of the seat suspense with each of these unlikely characters fulfilling roles in their lives that fill the chinks in their walls of isolation in surprising ways. Devos and Cassel deliver bravura performances and the remainder of the cast is uniformly strong. Once again Alexandre Desplat has produced a musical score that enhances the tension and cinematographer Mathieu Vadepied finds all the right lighting and angles to suggest the worlds of isolation of the characters as well as the Hitchcockian sense of suspense. Director Audiard wisely manipulates a factor that is at once sensitive and transformative for the story: he shows us the difference between 'hearing' the world with and without hearing aids and in doing so makes some powerful social comments. This is a fine film that remains in the ranks of the best of the French film noir genre. Recommended. Grady Harp", "label": 1, "domain": "movie_review", "token_count": 463, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0556", "text": "STAR RATING: ***** Unmissable **** Very Good *** Okay ** You Could Go Out For A Meal Instead * Avoid At All Costs Stuck-up career bitch Kate (Franka Potente) heads to the London underground to catch a train to take her to meet George Clooney. However, after a hectic working day, she dozes off and awakens to find herself alone in a deserted platform. As she races off on a situation taking her from one daunting encounter to the next, however, she learns of something far more malign and evil waiting for her out there. In a lot of ways, the British Film Industry is really becoming one on it's own, especially in the horror thriller department, with films such as Creep and the successful 28 Days Later (which this has strong echoes of in parts.) In terms of succeeding in what it set out to do, Creep does cleverly create (especially at the beginning) a scary sense of isolation and tense fear. At it's clever running time, it also (though inadvertently, I suspect) manages to pay homage to some of those pioneer high-concept horror films from the 70s that rely on shocks and fear through-out without really focusing too much on character development and such. Of it's weaknesses, some scenes are a little predictable, but these don't really succeed in making it less scary or effective in any way. I'm not sure if the ending was meant to make it come off as some sort of morality play and it's not exactly perfect, but it's certainly very effective and serves it's basic function very well. ***", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0557", "text": "DANIEL DAY-LEWIS does a remarkable job of playing Christy Brown, the artist who grew up with cerebral palsy but managed to have a productive life, dealing successfully with his handicap and becoming a respected artist and writer. The film, however, is a very difficult one to review--or even watch. Fortunately, I had the caption feature on to catch every spoken word which would have been impossible if I saw the film in a theater. While I respect it as a brave piece of work dealing with difficult subject matter, I can't say it's the sort of film I'd want to view more than once. Nevertheless, my attention was held by the story-telling device, a flashback framed by the present, in which we see Christy being honored for his achievements before we see the flashback to his youth and his struggles to communicate with those around him, who certainly gave him loving care. DANIEL DAY-LEWIS certainly is remarkable as the troubled man who falls in love with a therapist (FIONA SHAW), much to his mother's fear that when the love is not reciprocated his heart will be broken. There's a painfully long scene in a restaurant where he confesses his love to her before others and then goes into a frenzied rage after drinking too much. BRENDA FRICKER does a brilliant job as the mother taking care of him, his father and a brood of siblings while struggling to keep a roof over their heads until Day-Lewis begins to have success with his work. She complements Day-Lewis' performance as the warm-hearted mother and shares many poignant moments with him. Richly detailed story of a family that stayed together under the most unusual of circumstances with attention to period detail in every frame of the film. Both Fricker and Day-Lewis won Oscars, but HUGH O'CONOR and RAY McANALLY are also excellent. O'Conor is Christy as a boy and McAnally is the father who spends too much time at the local pub but loves the boy. Summing up: Elmer Bernstein's music is an added plus factor. Well worthwhile, but definitely not a film for everyone.", "label": 1, "domain": "movie_review", "token_count": 445, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0558", "text": "These days Spielberg's \"The Color Purple\" is mostly remembered for being nominated for eleven Oscars and winning zilch. What's even more alarming is that Spielberg himself wasn't even nominated for Best Director. Needless to say, the film-makers deserved more acclaim than they were accorded. The story concerns the trials and tribulations of Celie Johnson (Whoopi Goldberg), an African-American woman dominated at first by her incestuous father and then by her abusive husband. The film spans several years and focuses mainly on Celie's relationships with the women around her. It's told from a decidedly female perspective but you needn't fear that it's a saccharine 'chick flick'. The story is an interesting one, livened with humour at times although the central character's struggles are paramount. Some may not appreciate the change in tone towards the film's end but I didn't mind even though similar content in a lesser film would likely have me rolling my eyes. The film received three Oscar nominations for acting: Whoopi Goldberg (Best Actress), Oprah Winfrey (Best Supporting Actress) and Margaret Avery (Best Supporting Actress). I think that Goldberg and Winfrey were certainly deserving and Danny Glover was unaccountably stiffed. As already mentioned, Spielberg didn't receive a Best Director nomination for his efforts. Such an omission beggars belief, since Spielberg's direction here is top-notch. I'm not especially crazy about Quincy Jones's score but it's not below average by any means. In the end, the story is a satisfying one, well-told by a master film-maker working from Pulitzer Prize-winning material. Give it a try and you'll probably be as baffled as I am about how it could be so poorly treated on Oscar night.", "label": 1, "domain": "movie_review", "token_count": 352, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0559", "text": "Smallville episode Justice is the best episode of Smallville ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! It's my favorite episode of Smallville! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !", "label": 1, "domain": "movie_review", "token_count": 301, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0560", "text": "A mock documentary about a pair of Canadian producers, Bobby Myers (Matthew Modine) and Paul Linder (Saul Rubinek), trying to make their first film in the late 1970s. Hollywood North is the comic tale of their struggle to pull everything together, despite a number of conflicting threads. Hollywood North works as a film in a way very similar to why This Is Spinal Tap (1984) works so well. Namely, although exaggerated in some ways, it is very close to the truth, and the truth consists of \"behind the scenes\" facts that are very different than the public face of the industry. It isn't easy to make a film, and it must have been especially difficult in Canada in the late 1970s. Films involve tens, if not hundreds, of people. Many have incompatible desires, motivations and personalities. Especially crucial are the financiers and the on-screen talent, as if either drops out or becomes undependable at any stage while the film is in production, it could jeopardize the whole affair, either necessitating extensive reshoots or abandoning the film altogether. So it's not surprising that Hollywood North focuses on those kinds of relationships. The result is an excellent film that is both hilarious and tragic at the same time. The script is flawless and the performances are top notch. This is a must-see for any budding filmmaker and anyone with a serious interest in the craft of film-making. It should also be more than entertaining for any viewer with a modicum of intelligence and a sense of humor. A 10 out of 10 from me.", "label": 1, "domain": "movie_review", "token_count": 327, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0561", "text": "There are a number of things that are not correct, although this is not too important since what happened to whom and when is still in dispute. The most blatant liberty with the facts I think is when they start to play at Bruno Koschmidder's Kaiserkeller, when in fact they played at the Indra and moved to the Kaiserkeller later. I agree with Semprinni20 that the film was biased in favour of Pete Best's version, but if he is the story consultant then I guess he calls the shots. I also agree with Semprinni that the recordings Pete Best plays on say the last word on the subject of why he was fired. Although the film is not such a lavish production as the later film \"Backbeat\", I prefer this film because it is more accurate, and because it has a better script with deeper characterisation. There is plenty in the film that is quite substantial - such as Brian Epstein trying to hide the fact that he has been \"queer-bashed,\" only to find out that the band knew he was Gay all along. Little touches like the band going into a café and ordering \"Corn-Flakes mit Milch.\" My favourite scene, which does have some bassis in fact, is where at an audition Stuart Sutcliffe has just bought his bass guitar but can't play it, so he stands with his back to the impresario and tries faking it, but gets caught. That's rock 'n' roll. Well worth watching.", "label": 1, "domain": "movie_review", "token_count": 308, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0562", "text": "Documenting a documenter. That's one way to describe Keep the River on Your Right: A Modern Cannibal Tale. This film follows anthropologist Tobias Schneebaum, who in his late 70s went on a journey back to the places he spent time as a participant field researcher over 40 years ago, first to West Papua and then Peru. Tobias is a full-bodied character: a gay Jewish artist anthropologist who eeks out a living on a cruise ship teaching gawking tourists about the cultures he has come to have a deep respect and understanding for. Author of several books documenting his time with both the Asmat people of West Papua and the cannibalistic Amazonians in Peru, Tobias has been haunted by what happened in his time in these places and how intimate his connection and relationships had become. Yet Tobias' constant wonder and appreciation for the places he got to know is admirable and a real pleasure to watch. One can only hope to ever achieve and retain such humility themselves. Tobias makes a compelling subject for study as the experiences he faced in immersing himself in these two tribal societies has left him fundamentally changed. This film challenges the notions of morality and \"naturalness\"- e.g. nudity, homosexuality, cannibalism. (Watch for the graphic circumcision scene). When questioned as to why he engaged in some of the local practices that others would morally denounce, his non-judgmental nature asks: \"Why Not?\" Who is to say the way of other cultures is right or wrong? This little sleeper is a must watch for not only National Geographic types, but also those interested in the art of documentary making. This film shows what can be done shot on video. The editing provides a quiet revelation of Tobias' life that leaves you watching in fascination. At times, he despairs at being pushed by the film crew to make the emotional journey back, especially considering his age and physical frailty. We can be but grateful that Tobias allowed the tables to be turned on himself, perhaps sympathising with the desire to understand humanity and one's place in the world. The filmmakers provide some moments of critical balance, presenting for example one anthropologist who believes that Tobias predetermined his findings (of homosexuality in this case) based on his personal interests. That said, you can't decide when to stop being shocked and when to take this man home for a cuddle. Move over River Queen, this is the best river ride I've taken in a while.", "label": 1, "domain": "movie_review", "token_count": 499, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0563", "text": "SPOILERS Tom and Jerry is a classic cartoon, with a flawless idea, and almost every single short is a gem. While I must say that this is definitely an inferior short compared such other classic Tom and Jerry shorts, there is not way you can hate this cartoon. Sure, it is understandable to say that this is one of the worst of the first Tom and Jerry episodes, and I can say that I agree, but the fact of the matter is that all Tom and Jerry episodes are great, but some are just better than others. Well, this would fit into \"others.\" Here is the plot of Fraidy Cat. Tom is listening to an old scary radio broadcast, and becomes easily frightened. Jerry observes how scared he is, and tries to scare him even more than he already is. He creates scary dilemmas for Tom, and Tom becomes scared out of his wits, and his lives. Jerry then puts a sheet over a vacuum cleaner and controls it, thus making it look like the vacuum is a ghost. Tom finds out that Jerry did all of this, and chases him. Tom then accidentally bites the house maid. However, at the end Jerry ends up the one becoming scared after he sees his reflection in a flour cup. Overall, this is far from the best Tom and Jerry short out there, but this is still a fun and entertaining piece of time. It makes me wish that there was more cartoons like this. The slapstick and gags in this that make Tom and Jerry famous are as good as ever in this short, but it felt like something was missing in this. It felt slower than most Tom and Jerry shorts. Anyway, this is a good short that does not quite live up to some other Tom and Jerry cartoons, but it is still nice. 7/10", "label": 1, "domain": "movie_review", "token_count": 367, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0564", "text": "ANCHORS AWEIGH is an entertaining MGM musical that fans of the genre will enjoy but I wouldn't rate it up there with classics like SINGIN IN THE RAIN or THE BAND WAGON. This was the first of three musicals that Gene Kelly and Frank Sinatra appeared in together. Kelly and Sinatra play Joe Brady and Clarence Doolittle, two sailors on leave in Hollywood who befriend a young boy (Dean Stockwell)who introduces them to his attractive young aunt (Kathryn Grayson) a struggling actress who is working as an extra at MGM. Though both guys are initially attracted to Grayson, she eventually voices a preference to Joe but Clarence later hooks up with a waitress (Pamela Britton)who, he learns is from his hometown of Brooklyn. The paper-thin plot leaves room for several great musical numbers including \"We Hate to Leave\", Joe and Clarence's lament to their fellow sailors as they're leaving the ship; Grayson's torrid rendition of \"Jalousie\"; Sinatra's dreamy rendition of \"I Fall in Love Too Easily\" (a number which is sadly deleted from some prints of this film), and \"The Worry Song\", a fantasy dance that Kelly does with animated Jerry the Mouse from Tom and Jerry fame. Kelly also does a sort of Kissing Bandit fantasy ballet which rivals his Pirate's Ballet in the later THE PIRATE. Kelly is in peak form here, in a robust and energetic performance that earned him his only Oscar nomination for Best Actor and Sinatra's endearingly shy character here is undeniably sexy. An entertaining diversion for fans of the MGM musical factory.", "label": 1, "domain": "movie_review", "token_count": 333, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0565", "text": "I never watched the 'Next Action Hero' show, and until reading the other comments here, did not know that this movie was the 'prize' from that competition. I was just flipping channels and came across this, and found myself watching, dare eagerly, all the way to the end. Yes, the plot's been done (The Most Dangerous Game, etc.) but I was hoping for, and almost received, the 'gotcha' - how the protagonist was going to beat the hunter in the end. I think the high-tech was overdone (GPS's) and gave me cold-sweat flashbacks of Night Rider, but it nevertheless was not too overdone. The basic problem I had with this movie was the degree of SOD (Suspension of Disbelief) that was required of the viewer. Do we really think that someone flying in a helicopter could lob countless incendiary grenades at a public bridge and NO COPS show up to investigate? Could a limousine do countless donuts in a Las Vegas intersection and NO COPS show up? Pleeease. Way too much of that type of thing - fun to watch, but keep it at least plausible, thank you very much. The final solution was good, but the ending was disappointing, with the after taste of a bad Star Trek episode. At least now I understand why the acting was so cheesy - except for Zane, who doesn't get near as much work as he deserves IMHO - they were winners from a reality show. Knock me out.", "label": 1, "domain": "movie_review", "token_count": 312, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0566", "text": "I saw Soylent Green back in 1973 when it was first released and maybe another eight times over the years on T.V. or video. It was always one of my favorite sci-fi and/or Charlton Heston films. Recently, the Egyptian theater in L.A. had a twelve film Charlton Heston retrospective. I flew in from out of state to see six of the films over a two day period. Soylent Green looked great on the large Egyptian screen with a perfect new print. From its opening montage to the going home scene to the great ending the film was fantastic. Charlton Heston as a cop who lives in a dog eat dog world with few natural resources left and no understanding as to how the world used to be and Eddie Robinson as a man who remembers the past are both great. Their chemistry together is wonderful. The film also looks so much better in a great 35mm print. Fleisher really knows how to fill the screen,and the cinematoraphy, writing, music used, and everything about it works. The film is also very powerful in its bleak and very possible view of the future. Just think how the world population grew, the rain forest that disappeared, resources used up, green house effect getting worse since 1973. I just wonder why this film has not played in theaters all these years. Its reputation should be better. Speaking of reputations, often people speak as if Charlton Heston is not a great actor. Seeing him in El-Cid, Soylent Green, The Warlord, The Omega Man, Will Penny, and Major Dundee back to back I am convinced he is one of our best actors. Of course he made about a dozen other great films and for those that care you know what they are.", "label": 1, "domain": "movie_review", "token_count": 367, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0567", "text": "This might contain a spoiler, so beware. If it had been 200,000 thousand or two million people, does it make a difference? Sometimes I get so angry at the apparent apathy of a small number of (strangely very LOUD) Americans, but I have to remember that many people here in the US were not bred or raised to care about anything outside of their comfort zone. God Help us for what we have done. after the relative ease of what we did to the native Americans, and the indifference to the horrors of enslaving a race, you would think we'd have grown hearts and souls in the late 60's and early 70's. But now I see it is OK as long as our ends are justified to only us. How then, can we look at any other dictator and horrible government and think we are somehow doing good to impose our will? We are contradictory and hypocritical, and I am ashamed for this. I feel sorrow for the people affected. They deserve justice and their homes back. If this was done in my name as an American for my supposed safety, I don't want it. I denounce these actions, and hope our global community understands that many Americans believe the American government is a runaway train of deceit. No one is above the law. I want my country back, and so do the Chagos Islanders. Regardless of what people post from the anonymity of their computers, no one can in their heart deny that they would be unwilling to give up their birthplace for some bombs and heliports. We can't stand to be stuck in traffic, let alone forcibly and unjustly removed from our homes. 'Not one of us, Brit and American alike forget what goes around comes around. Don't buy into the fallacy that a simpler, more natural civilization is somehow less worthy of having their rights observed, and preserved - when we turn our backs on the basic human rights and dignities of 2000, we turn away from the basic human rights and dignities of all men.", "label": 1, "domain": "movie_review", "token_count": 414, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0568", "text": "Im not usually a lover of musicals,but if i had to choose what would be my favourite it would definitely be Oliver.This film is so well made,the characters are well depicted,the costumes are spot on the acting is good and the songs are great,my favourite being 'Reviewing The Situation'sung by Ron Moody who gives a brilliant portrayal of Fagin.I wasn't old enough to see Oliver when it was released in the late 60s but my sisters were,so for weeks on end i had to put up with them singing the bloody songs,usually it was 'Who will buy my wonderful roses'so i already knew all of the songs before i saw the film.Its a timeless musical you definitely couldn't remake it,it stands on its own.Its not accurate to the book and i don't think it would have worked so well if it had been.I don't think Charles Dickens would be disappointed,as he wrote Oliver to depict the poverty in London,the orphanages,the work houses and about what the poor had to resort to in order to survive,and the film portrays this very well.Also another great reason to watch this film is Bullseye the Old type English Bull terrier,notice his long thin legs,this was bred out of the breed many years ago,they must have hunted high and low to find a specimen like him,and he is exactly how an English Bull Terrier would have looked in Victorian times.Notice he has scars {which is probably makeup}on his face,Bill Sykes had probably used him for dog fighting or for the rat pit.A Victorian Bull Terrier had a record amount of kills in a rat pit.His a beautiful dog any way,and notice he disobeys Bill Sykes after he has killed Nancy,he obviously has his standards his not the chunk head Bill Sykes thought he was.This is a great musical to watch if you like musicals,and if you don't like musicals give it a try any way,there's something for everyone in this film.", "label": 1, "domain": "movie_review", "token_count": 405, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0569", "text": "The arrival of vast waves of white settlers in the 1800s and their conflict with the Native American residents of the prairies spelled the end for the buffalo... The commercial killers, however, weren't the only ones shooting bison... Train companies offered tourist the chance to shoot buffalo from the windows of their coaches... There were even buffalo killing contests... \"Buffalo\" Bill Cody killed thousands of buffalo... Some U. S. government officers even promoted the destruction of the bison herds... The buffalo nation was destroyed by greed and uncontrolled hunting... Few visionaries are working today to rebuild the once-great bison herds... \"The Last Hunt\" holds one of Robert Taylor's most interesting and complex performances and for once succeeded in disregarding the theory that no audience would accept Taylor as a heavy guy... His characterization of a sadistic buffalo hunter, who kills only for pleasure, had its potential: The will to do harm to another... When he is joined by his fellow buffalo stalker (Stewart Granger) it is evident that these two contrasted characters, with opposite ideas, will clash violently very soon... Taylor's shooting spree was not limited to wild beasts... He also enjoy killing Indians who steal his horses... He even tries to romance a beautiful squaw (Debra Paget) who shows less than generous to his needs and comfort... Among others buffalo hunters are Lloyd Nolan, outstanding as a drunken buffalo skinner; Russ Tamblyn as a half-breed; and Constance Ford as the dance-hall girl... But Taylor steals the show... Richard Brooks captures (in CinemaScope and Technicolor) distant view of Buffalos grazing upon the prairie as the slaughter of these noble animals... The film is a terse, brutish outdoor Western with something to say about old Western myths and a famous climax in which the bad guy freezes to death while waiting all night to gun down the hero...", "label": 1, "domain": "movie_review", "token_count": 388, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0570", "text": "I hated the first episode of this show ( 'Protesting Hippies' ) so much in 1999 that I shunned the rest. However, when it came on 'The Paramount Comedy Channel' I watched it in full and, to my surprise, found it absolutely hilarious ( Motto: never judge a comedy series in its first week )! Set in 1969, 'Hippies' stars Simon Pegg as 'Ray Purbbs', editor of an 'Oz'-like underground magazine called 'Mouth'. His friends are the feminist Jill, laid-back Alex, and the half-wit Hugo. Back in the late '60's, there was a feeling of incredible optimism amongst the young, that they could change the world through the printing of magazines nobody read. Rather than sneering at the hippies' naivety, 'Hippies' is affectionate towards it. Arthur Mathews' scripts cheekily parody a number of that era's icons - 'Hair', 'Woodstock', 'The Graduate', even the infamous 'Oz' obscenity trial of the early '70's. Excellent performances from the cast; Julian Rhind-Tutt's 'Alex' strangely put me in mind of the Richard O'Sullivan character from 'Man About The House'. Its a shame that there was never a second series, possibly because of people like me. If you missed 'Hippies', give it a try. Once you get past the dire opener, you're in for a treat!", "label": 1, "domain": "movie_review", "token_count": 307, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0571", "text": "It is quite a simple not very active but very charming film. There were moments where I can see why Cher won the Academy Award for Best Actress, but there were other times when I wondered why Glenn Close didn't win for Fatal Attraction. Anyway, Oscar and Golden Globe winning, and BAFTA nominated Cher plays Loretta Castorini, a simple woman with a low pay job who has just been asked by Mr. Johnny Cammareri (Danny Aiello) to marry him. He promises her he'll be back in a month, as his mother is sick, so she mean while needs to get as much of his family to attend the wedding as possible. Only problem is, when she finds Johnny's one-handless brother Ronny (Golden Globe nominated Nicolas Cage), they start having a relationship, and there love goes on to that moon scene (where the title comes from). Also starring Oscar nominated Vincent Gardenia as Cosmo Castorini, Oscar, BAFTA and Golden Globe winning Olympia Dukakis as Rose Castorini and John Mahoney as Perry. It ends with no wedding for Johnny and Loretta, but she and Ronny were happy together. It won the Oscar for Best Writing, Screenplay Written Directly for the Screen, and it was nominated for Best Director for Norman Jewison (In the Heat of the Night) and Best Picture, it was nominated the BAFTAs for Best Score for Dick Hyman and Best Original Screenplay, and it was nominated the Golden Globes for Best Motion Picture - Comedy/Musical and Best Screenplay. It was number 96 on 100 Years, 100 Quotes (\"Snap out of it!\"), it was number 17 on 100 Years, 100 Passions, and it was number 41 on 100 Years, 100 Laughs. Very good!", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0572", "text": "I don't know...Maybe it's just because it's an impressive tribute to some Muslim religious action(hajj)but I just felt the movie is so underrated. I just can't believe that the movie has just been voted by only 223 people so far given that the movie was produced in 2004 and it has won many awards since then.About the movie...it's one of those well-acted sweet movies.Reda,a French teenager due to sit for Baccalauréat, is asked by his devout elderly father to take him to Mecca.Strange as it may seem(if one doesn't know much about Islam)the father wants his son to drive them from their home in France to Saudia Arabia on a once-in-a-lifetime religious pilgrimage.The generation gap between the father and the son is based on simple enough terms('you may know how to read and write, but you know nothing about life,' the unnamed father to his son)but some sort of bromidic generation gap literature is avoided.Bot of them are affectionate in their frustrations.The father never speaks in French though Reda understands Arabic but can only seem to answer in French. Though they encounter many people on the road: \"There's the scary old woman they pick up in the Bosnian border on the way to Belgrade, and the talkative Mustafa(Jacky Nercessian), who helps them out at the border of Turkey,the reticent and shy women wearing burqas on the way to Damascus\" the focus is always on the mismatched father and son.There is not much of a conversation in the movie which makes it enjoyable to your eyes. You see magnificent views in every city they go.The director shows you even the Blue Mosque and the Hagia Sophia even though the movie is not relatively long. Generally I don't like movies which don't have enough dialogs and which take their power from camera subtleties but this one was really great.Despite some unanswered details(like Reda's unseen French girlfriend)the movie appeals to senses.Great work of art and remember this movie is Ismaël Ferroukhi's debut.", "label": 1, "domain": "movie_review", "token_count": 432, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0573", "text": "\"Fraidy Cat\", the 4th of these cartoons, is a good one. At least I like it, so I'm surprised that this is getting mixed reviews. This one is more of a macabre story than a funny one, although it has its moments of comedy. The atmosphere is dark and spooky. Suspense is another strong element here. As for humor, it's mostly dark humor. In this short, Tom listens to a creepy radio show at night and is absolutely terrified because it is about ghosts, something he believes. While Tom is scared to death, Jerry is watching everything and can't help but laugh the whole time. In fact, Jerry quickly finds a way to torture him more and more. With the help of a white shirt and a vacuum cleaner he creates a big \"ghost\". Tom lives the scariest experience of his whole life. Although Jerry scares Tom without a good reason, the way the story is made ends up being funny. Plus, once again, there is no violence here because this is one of Tom & Jerry's oldest cartoons. However, I don't get that joke of Tom's 9 lives nearly sucked into the vacuum cleaner. When Tom finally finds out that it was all a Jerry's scheme and that Jerry made a fool out of him, Jerry is «caught with the hand in the cookie jar» (he deserves to be discovered). Yet, Tom shows an incredible patience before reacting. He angrily looks at Jerry for about a minute. The funny thing is that Jerry invites Tom to laugh with him and takes about half a minute to realize that Tom is looking at him with a very serious face. Jerry tries to be funny, but Tom doesn't laugh. Overall, this is a different, peculiar and remarkable Tom & Jerry experience.", "label": 1, "domain": "movie_review", "token_count": 360, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0574", "text": "And this is a great rock'n'roll movie in itself. No matter how it evolved (at point being a movie about disco), it ended up as one of the ultimate movies in which kids want to rock out, but the principal stands in their way. Think back to those rock'n'roll movies of the 50's in which the day is saved when Alan Freed comes to town with Chuck Berry to prove that Rock & Roll Music is really cool and safe for the kids, and Tuesday Weld gets a new sweater for the dance. Forward to the 1979, repeat the same plot, but throw in DA RAMONES, whom no one then realized would become one of the most influential bands of the next quarter century (and then for the obligatory DJ guest shot, \"The Real\" Don Steele). Throw in, too, all the elements of a Roger Corman-produced comedy-exploitation film, except for the two-day shooting schedule, some of the familiar Corman repertory players like Clint Howard, Mary Wournow and Dick Miller (there since \"Bucket of Blood\"), and you've got one of the great stoopid movies of the day. One of the few films that uses deliberate cheesiness and gets away with it. I showed the new DVD to a friend who could only remember seeing parts of it through a stoner- induced haze at the drive-in, and he agreed that this is one of the great movies to be watching drunk, not the least for the lovely leading ladies and the great Ramones footage.", "label": 1, "domain": "movie_review", "token_count": 310, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0575", "text": "'The Last Wave' is far more than the sum of its parts. It's not merely a disaster film, not simply an exploration into Australian Aboriginal spirituality, and certainly more than a simple court drama. Writer/Director Peter Weir manages to take these elements to the next level to produce a truly effective and thought-provoking film with the same eerie atmosphere he gave to 'Picnic At Hanging Rock' two years earlier, that you will continue to remember years later. When lawyer David Burton (Chamberlain) is called to defend Chris Lee (Gulpilil) over the death of an Aboriginal for which he may or may not be directly responsible, he finds himself not merely struggling to get the truth from Lee, but making sense of what he hears when it does come. As with the Aboriginal belief that there are two worlds - the everyday and the Dreamtime, the truth exists on two completely different levels, with ramifications more disastrous than Burton could ever have imagined. No doubt the reason why 'Picnic At Hanging Rock' is better remembered is because of its enduring mystery. We are led along the same path but forced to find answers for ourselves. In 'The Last Wave', we can piece everything together by the end of the film. However, even with all the information, we have to choose how much of it we want to believe, because the film takes us beyond the borders of our normal realities. On the production side, Weir uses his budget to great effect, progressively building a sense of doom in everything from soft lighting, to heavy rain, to good use of sound. The incidental music is unobtrusive, never trying to be grandiose. Richard Chamberlain manages to convey the bafflement the audience would doubtless feel as he tries to unravel the mystery. David Gulpilil excellently portrays a man trapped between two worlds, wanting to do the right thing, but afraid because he already knows the ending. Put all these things together, and you have a perfect example of why David Weir is a familiar name in cinema thirty years on. Strongly recommended.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0576", "text": "This is an Arnold movie. Now that you know that, I've saved a lot of you the time it would have taken to read this review. If you don't like Arnold, then you wont like this movie. If the case is the other, then you will very probably like it. It's as simple as that. Now, if you're still reading this I expect you like Arnold. Good for you! He is quite good isn't he. The Running Man is a very typical Arnold feature. It's got the usual retro-future we know so well from 80's B-Sci Fi, it's got a bunch of terrible one-liners, lots of violence and explosions, and a good-looking heroine and a happy ending. In this case, the evil opponent is the all-controlling 1984ish government, which uses television as an effective crowd-control with gladiator-type game shows. Arnold, of course, ends up in one of these shows and turns it all up-side-down, with a little help from his two confederates and the good-looking Amber. It's not a big budget movie, but it still managed to create a pretty good atmosphere of the future, with some nice matte paintings and sets to help it. It's hopelessly 80's, but I find that charming. Acting is varying, Arnold doing his usual grunt and shout thing, with a helping of stone-faced one-liners. Heroine Amber is, to put it lightly, a bit stereotypical, and the subtly named Damen Killian is a typical evil TV man. In spite of all it's flaws, the movie shows its message very clearly; television is an opiate of the masses, a good way to control people. It also features some at the time futuristic digital video editing, allowing the bad guys to change faces in a video to fool their audience. This does not seem futuristic at all today, which is a bit alarming. If you've seen Arnold movies before then you know when to watch this one. Enjoy.", "label": 1, "domain": "movie_review", "token_count": 410, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0577", "text": "Pierce Brosnan has sipped his last Martini and returns, in an outrageous self-parody, as the aging foul-mouthed boozy assassin Julian Noble, who has a particular fondness for teenage girls, bullfights and tacky clothes. During a job in Mexico City he meets Danny (Greg Kinnear), a straight-faced Denver suburban business-man, who's in town to make his deal of-a-life-time, in a hotel bar. Despite their completely different personalities and Julian's crude and insensible remarks, they become friends. Largely carried by the performances of Pierce Brosnan and Greg Kinnear, director Richard Shepard revealed that he didn't write the film with Pierce Brosnan in mind , but I can hardly imagine this without him. He proves to have a real talent for comedy and can be more than just James Bond or cold-war spies. The scene in which the two meet at a glossy hotel bar (stunning sets and beautifully photographed) really is a bravura piece of acting skills. The scene lasts almost fifteen minutes, and although it was probably carefully scripted, the two actors are largely improvising, but they succeed wonderfully! It almost feels like a new standard in screen acting. Think of Robert De Niro and Harvey Keitel in MEAN STEETS improvising and add one of the most subtle underpinnings of many genre clichés and the actors' own typecasting (Brosnan's James Bond in particular), and you got one of the most delightful pairings in recent Hollywood. Sadly, the story wears thin after a while. After an hour, the film just runs out of steam. Nevertheless, and I can't put my finger on it exactly, I did enjoy this very much. It just feels very fresh and original, with some imaginative use of sets and lighting, and some hints to Seijun Suzuki and Jean-Pierre Melville. The other characters aren't given much to do, but this film does offer something new, in that respect it almost effortlessly succeeds in blending all conventional genres into quite an entertaining spoof. Very amusing. Camera Obscura --- 7/10", "label": 1, "domain": "movie_review", "token_count": 430, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0578", "text": "I guess when \"Beat Street\" made a national appearance, \"Flashdance\" came at the same time. The problem with \"Flashdance\" is that there was only one break dancing scene and the rest was jazz dance and ballet. That was one of the reasons why \"Beat Street\" was better. The only movie that could rival \"Beat Street\" seems to be \"Footloose\", because both movies focused on how dance had been used by people to express their utmost feelings. The break-dance scenes in \"Beat Street\" come just before the middle and at the end of the flick. And I loved all of them. Almost all of the break tricks were featured in the break jam scenes: the jackhammer, the flares, the head spins, the suicide sit, the crazy legs, the mortal, the forward flip, the figure four---almost everything. Like \"The Warriors\", \"Beat Street\" does have violence related to the gang life in the hip hop world...but in a much less violent way than the former. The only major fight scene in \"Beat Street\" was when graffiti artist Ramon (which in the movie was abbreviated as \"Ramo\") is chased by a rival gang member on the New York City subway tracks.....fighting each other on the third rail and both dying by electrocution on that rail. Well, although that chase scene ended tragically, it was better that they died that way than having blood exploding from a gang gunshot. Most of the gang stuff in the flick was graffiti related to the hip-hop culture, and rap music. A lot of rap music appeared in the flick, because hip-hop members used rap music as a diversion to the negative aspects of gang life. Even the theme song of the movie, which closed the curtain to the flick, was not just an homage to hip-hop culture--it also was an homage to the death of Ramon. By the way, during the dance scene called 'Tango, Tango', I guess the female drummer in the pit orchestra conducted by actress Rae Dawn Chong was Sheila E. making a cameo appearance.", "label": 1, "domain": "movie_review", "token_count": 425, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0579", "text": "I saw this film as it was the second feature on a disc containing the previously banned Video Nasty 'Blood Rites'. As Blood Rites was entirely awful, I really wasn't expecting much from this film; but actually, it would seem that trash director Andy Milligan has outdone himself this time as Seeds of Sin tops Blood Rites in style and stands tall as a more than adequate slice of sick sixties sexploitation. The plot is actually quite similar to Blood Rites, as we focus on a dysfunctional family unit, and of course; there is an inheritance at stake. The film is shot in black and white, and the look and feel of it reminded me a lot of the trash classic 'The Curious Dr Humpp'. There's barely any gore on display, and the director seems keener to focus on sex, with themes of incest and hatred seeping through. The acting is typically trashy, but most of the women get to appear nude at some point and despite a poor reputation, director Andy Milligan actually seems to have an eye for this sort of thing, as many of the sequences in this film are actually quite beautiful. The plot is paper thin, and most of the film is filler; but the music is catchy, and the director also does a surprisingly good job with the sex scenes themselves, as most are somewhat erotic. Overall, this is not a great film; but it's likely to appeal to the cult fan, and gets a much higher recommendation than the better known and lower quality 'Blood Rites'.", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0580", "text": "This happy-go-luck 1939 military swashbuckler, based rather loosely on Rudyard Kipling's memorable poem as well as his novel \"Soldiers Three,\" qualifies as first-rate entertainment about the British Imperial Army in India in the 1880s. Cary Grant delivers more knock-about blows with his knuckled-up fists than he did in all of his movies put together. Set in faraway India, this six-fisted yarn dwells on the exploits of three rugged British sergeants and their native water bearer Gunga Din (Sam Jaffe) who contend with a bloodthirsty cult of murderous Indians called the Thuggee. Sergeant Archibald Cutter (Cary Grant of \"The Last Outpost\"), Sergeant MacChesney (Oscar-winner Victor McLaglen of \"The Informer\"), and Sergeant Ballantine (Douglas Fairbanks, Jr. of \"The Dawn Patrol\"), are a competitive trio of hard-drinking, hard-brawling, and fun-loving Alpha males whose years of frolic are about to become history because Ballantine plans to marry Emmy Stebbins (Joan Fontaine) and enter the tea business. Naturally, Cutter and MacChesney drum up assorted schemes to derail Ballentine's plans. When their superiors order them back into action with Sgt. Bertie Higginbotham (Robert Coote of \"The Sheik Steps Out\"), Cutter and MacChesney drug Higginbotham so that he cannot accompany them and Ballantine has to replace him. Half of the fun here is watching the principals trying to outwit each other without hating themselves. Director George Stevens celebrates the spirit of adventure in grand style and scope as our heroes tangle with an army of Thuggees. Lenser Joseph H. August received an Oscar nomination for his outstanding black & white cinematography.", "label": 1, "domain": "movie_review", "token_count": 381, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0581", "text": "Vincent Price's follow-up to HOUSE OF WAX (1953), the film which cemented his reputation as a horror icon, similarly revolves around a bitter – albeit resourceful – showman. Though a remake, the former (shot in Technicolor) remains the superior effort; that said, apart from some resistible comic relief, the obligatory resort to cheap gimmickry (it was another 3-D showcase) and occasional narrative shortcomings (whatever happened to the missing bag which supposedly turned up at some police station containing a severed head?), this offers more than enough Grand Guignol-type thrills and overall camp value (Price hamming it up in a variety of disguises as an inventor of illusions impersonating 'missing' star conjurers who had taken advantage of his genius) to stand on its own two feet. Incidentally, director Brahm's involvement here proves no mere coincidence – since the narrative incorporates elements from two horror titles (both starring Laird Cregar) he had previously helmed i.e. THE LODGER (1944) and HANGOVER SQUARE (1945). The young leads are played by Mary Murphy (as Price's ingénue assistant) and Patrick O'Neal (as her police detective boyfriend – curiously enough, he would himself take the lead in a similar piece, CHAMBER OF HORRORS [1966], which I have acquired just in time to serve as an encore to this one). An interesting sideline here is the latter's adoption of a novel detection technique, fingerprinting, which is crucial in bringing about Price's downfall (in a predictable but rather awkward fiery climax) though the persistent snooping of his amateur crime novelist landlady has at least as much to do with it in the long run! Watching the star in a made-to-measure role, the film emerges a good deal of fun – particularly at a compact 73 minutes.", "label": 1, "domain": "movie_review", "token_count": 388, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0582", "text": "Released some months before the end of the war, \"Anchors Aweigh\" is one of Gene Kelly's major musical triumphs of the forties Under the direction of George Sidney, it had the benefits of a pleasant score, and—best of all—the services of Gene Kelly in his first true starring role at MGM The year before, in Columbia's \"Cover Girl,\" he had revealed an innovative approach to dance on the screen, a light but agreeable singing voice, and considerable charm In \"Anchors Aweigh,\" although he was billed under Frank Sinatra and Kathryn Grayson, he was laying the solid groundwork for his most revealing years at MGM The film's story, a kind of dry run for \"On the Town\" four years later, follows sailors Kelly and Sinatra on shore leave, spend their holiday in Hollywood, where they become involved in the affairs of an aspiring singer (Grayson) and her little nephew (Dean Stockwell). Grayson, it appears, has her heart set on an audition with conductor-pianist Jose Iturbi She gets the audition, of course; Kelly gets Grayson after some misunderstandings; and Sinatra, has forgotten to be shy, and has lost his heart to a girl from Brooklyn (Pamela Britton). The plot is conventional for the period but, regrettably, it now seems barely tolerable But there is Gene Kelly, who dominates the movie with his agreeable personality Perhaps he grins too much, but when is permitted to dance, the film finally lifts off the ground \"I Begged Her,\" his early song and dance with Sinatra, is amusing and slightly absurd, in which he imagines himself as a bandit chieftain in a Spanish courtyard, courting maiden Grayson with a flamboyant flamenco dance and some athletic leaps He also does a charming Mexican dance with little Sharon McManus in the square of a Mexican settlement in Los Angeles The highlight of the movie, however, is Kelly's famous dance with the cartoon character Jerry the Mouse (of \"Tom and Jerry\" fame). Delightful and innovative, it skillfully combines live action and animation in its tale of a sad mouse king who refuses to allow music in his kingdom until Kelly, a sailor in the \"Pomeranian Navy,\" wearing a striped shirt and a beret, shows him how to dance \"Look at me, I'm dancin'!\" says the gleeful mouse king...", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0583", "text": "Sergio Martino's The Case of the Scorpion's Tail is a scenic giallo from the early 70's heyday of the genre. An explosion on an aeroplane results in one million dollars in insurance money for a bereaved but unfaithful wife. The money is subsequently snatched by a black-clad assassin and a series of brutal murders follow. Scorpion's Tail plays the mystery element, written by giallo specialist Ernesto Gastaldi, fairly straight. But, being a giallo, the murders themselves are memorable and well-staged. In fact, the violence in this movie is very strong in places - a scene with a broken bottle being particularly graphic. The emphasis on the violence no doubt influencing the giallo genre to move into more and more extreme territory. But like the best films in the genre the brutality is offset by a good score and attractive photography. The music by Bruno Nicolai is at times reminiscent of Ennio Morricone's avant-garde work in The Bird with the Crystal Plumage but is also strong in its own right. The photography is helped by the nice use of foreign locales - in this case London and Athens - where Martino manages to get in, respectively, the Houses of Parliament and the Acropolis! There is also some inventive camera-work too, the most effective being the use of slow motion in a sequence where a woman runs towards the door where the maniac is prowling outside. In this particular scene Martino has the killer hack through the door with a knife in a manner influenced by Dario Argento's Crystal Plumage, however, it also has the killer attempt to flick the latch open with the blade of a knife which is something repeated later by Argento in Suspiria. So Martino's film is influential in its own right. This is a good solid giallo that both genre and non-genre fans can appreciate. The performances are good and the production values are fine (although the plane explosion is, shall we say, somewhat low-budget!). The DVD release by NoShame is nice. It has both the English and Italian language options which is a real bonus. However, it is worth pointing out that at times you need to be a fast reader to fully appreciate the English subtitle option. This applies to both the movie and the documentary in the extras. This is a minor point though, the DVD release is a worthy addition to any giallo collection.", "label": 1, "domain": "movie_review", "token_count": 499, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0584", "text": "Let's face it: the final season (#8) was one of the worst seasons in any show I've ever enjoyed (mostly, I've never found dry spells to last a whole season). But if you judge this show by the last season, of course it's going to come across as inferior. That is an entirely unfair assessment-- because \"That '70s Show\" was, in its day, a brilliant and hilarious sitcom about a bygone era and how the people who lived there weren't so different than we are here in modern times. All right... ignoring Season 8. Topher Grace stars as Eric Forman, a horny geek of a teenager with a perpetual love of Donna (Laura Prepon), the feminist girl next door. Playing their friends, Danny Masterson (Hyde), Mila Kunis (Jackie), Wilmer Valderrama (Fez) and even Ashton Kutcher (Kelso) give fantastic performances in (almost) every episode. The best one is probably Fez, a foreign exchange student who is as mentally promiscuous as they get. What country is he from? Try to figure it out! For another dimension of entertainment, Debra Jo Rupp and Kurtwood Smith are phenomenal as Eric's parents. Rupp, as Kitty, is both formidable and sweet, sort of like Mrs. Brady meets Marie Barone, while Smith's Red exists mainly to scare the pogees out of everyone. Don Stark and Tanya Roberts play very well opposite each other as Donna's parents, the chauvinistic but likable Bob and the airheaded Midge. Tommy Chong has occasional appearances as Leo, a stoner who acts as a father figure to Hyde. Apart from the anachronistic errors that pop up quite frequently and the over-the-top lessons that sometimes come (and that deplorable final season), \"'70s\" is a terrific show with amazing writing, spot-on direction, and a feel-good vibe pulsing through every episode. They're all alright.", "label": 1, "domain": "movie_review", "token_count": 411, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0585", "text": "This 1953 Sam Fuller movie contains some of his best work, and its sad that he couldn't continue to get the backing of major Hollywood studios to do his stuff. The story line goes something like this. A tough hard broad (read prostitute) is riding the subway one hot summer day, and gets her pocketbook picked by Skip McCoy. What Skip (and the dame) don't realize is that she is also carrying some microfilm to be passed to commie spies. This opening shot without dialogue, and mostly in tight close-ups is a beaut,one of the many that Fuller uses throughout the movie. Playing the babe known as Candy is Jean Peters, who was never better nor better looking. One forgets how beautiful she was, and she handles this role very well. The Pickpocket is played by Richard Widmark, who had already made his mark, and set his style with 1947's Kiss Of Death as the crazy creep with the creepy laugh, and although he's a little \"softer\" here, he's still scary. These hard edged characters do have soft spots here and there, but its noir and nasty all the way. The standout performance belongs to the wonderful Thelma Ritter,who plays Moe the stoolie saving up her dough to pay for her own funeral. Ritter received a well deserved Oscar nomination for her performance, but lost out to the boring but popular performance of Donna Reed as the B girl (read prostitute) in \"From Here To Eternity.\" Hollywood loves it when a good girl goes bad, and loves to Oscar them even though their performance is usually awful. See for instance Shirley Jones in \"Elmer Gantry. Set among the docks and dives of New York City, with crisp black and white photography by the great Joe MacDonald,and some very good art direction. Especially good is the set representing the New York City subways and Widmark's shack near the river. Made at the height of the cold war and red scare, the villian of the piece is the ordinary looking commie, played by Richard Kiley who is much more dangerous than the pickpocket who is a criminal but is just trying to make a living and above all is a loyal American.", "label": 1, "domain": "movie_review", "token_count": 452, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0586", "text": "Scott Henderson (Alan Curtis) meets a mystery woman (Fay Helm) in a bar and invites her to see a show with him. She agrees on condition that they don't swap any information about each other - not even names. Sometimes these are the best kind of dates. However, when he returns to his apartment, Inspector Burgess (Thomas Gomez) and his team are waiting for him. Scott's wife has been murdered. His alibi is the mystery woman but no-one can remember seeing her and, as a result of this, Scott is sentenced to die for the murder of his wife. His secretary Kansas (Ella Raines) is not convinced of his guilt and sets out to find the woman who can save him from the death penalty. This is a good film and the viewer is 100% behind the attempts of Kansas to get to the truth. We follow her through some memorable scenes, eg, her pursuit of Mac the bartender (Andrew Tombes) at night and the claustrophobic venue where Cliff the drummer (Elisha Cook Jr) takes her to hang out, drink and dance while he jams with his friends. This is such a blatant depiction of sexual desire that it is a stand-out part of the film as everyone sweats intensely and rhythmically for the duration of the scene. Ella Raines is good in the female lead role and Thomas Gomez makes a likable policeman. Alan Curtis started well as the confused, innocent man, but once he is arrested his performance took a left turn as he became thoroughly unpleasant to Kansas for no reason. God knows why she stuck by him. The film doesn't keep you guessing as to who the murderer is as we know from about halfway through the film, but this doesn't matter. In fact, it adds to the tension and dramatic development of the story as we will Kansas to discover what is going on and then to get the hell out! It's a good film with some great scenes but although Elisha Cook Jr has a memorable role, I just never like him in anything that I see him in.... someone hand me a neck-tie.....", "label": 1, "domain": "movie_review", "token_count": 428, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0587", "text": "THE 40 YEAR-OLD VIRGIN (2005) **** Steve Carell, Catherine Keener, Paul Rudd, Romany Malco, Seth Rogen, Elizabeth Banks, Leslie Mann, Jane Lynch, Gerry Bednob, Shelley Malil, Kat Dennings. Hysterically funny high-concept comedy about the titular Andy Stitzer (wonderfully played by perennial second banana Carell in a truly extraordinarily comic breakthrough performance sure to stratosphere him to the A-list), a tech services rep for an electronics store in Southern California who is found out about his secretive identity by a trio of well-meaning yet entirely clueless womanizing co-worker buddies (Rudd, Malco & Rogen, each one degree funnier than the next) determined to get their friend deflowered no matter the cost. What follows is an unlikely yet very warm-hearted romance with a vivacious mother (the marvelous Keener having lots of fun here) leading to add more fuel to the fires within Andy. A surprisingly good-spirited and unapologetically raunchy romantic comedy; the funniest since \"There's Something About Mary\" with a shrewdly observant script by director Judd Apatow and Carell that features some astoundingly gut-busting sequences including a scathingly accurate David Caruso joke, homophobic debunking ribbing, send-ups of 'date-a-paloozas' and demystifying the war of the sexes with cheeky aplomb. A true winner and an instant classic; the funniest film of the year.", "label": 1, "domain": "movie_review", "token_count": 318, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0588", "text": "Faithful to the work of Pearl S. Buck whose years spent in China as a child of Missionary parents that provided her with deep insights into the Chinese culture and its philosophy, this film adaptation is brilliantly done, both in technically artistry and acting. Wang Lung is a humble farmer grateful for the basics of life: to survive off of his land and to be newly wed to Olan, a servant to a rich and powerful family in the village area. Despite Wang Lung and Olan's best efforts to farm the land, raise kids, and build savings and wealth, a famine threatens to wipe out everything they have worked for. Choosing not to sell their land, a traditional Asian belief, they instead journey to a major city to wait out the famine. While in the city, they are reduced to begging and being just one of hundreds of other unfortunate homeless families. Although not a looter, Olan gets caught up in a mob looting at a rich man's house. She's summarily rounded up for execution by the army, but is saved at the last minute. Her good fortune, however, is that she found valuable jewels at the looting site that affords her and her family the opportunity to return to their farm to start over again. The newly found wealth transforms Wang Lung. He becomes selfish, self-centered and takes credit for the find. He becomes a very rich farmer but that only makes matters worse as he increasingly becomes more unappreciative, arrogant and difficult to reason with. He loses touch with the basic things in life that money can't buy: loyalty, commitment, trust, fairness and honesty. As punishment, nature once again turns the table on Wang Lung by sending a plague of locust to destroy everything he has. Brought to his knees, Wang Lung enlists the aid of all friends, former friends, workers, and family. With all that help, he succeeds in saving the farm. From that experience, he once again returns to humbleness and an appreciation for the basics in life.", "label": 1, "domain": "movie_review", "token_count": 411, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0589", "text": "I first saw Martin's Day when I was just 10 years old, at home, on The Movie Channel, and still remember the impact it made on my life. It touched me as no other film had touched me, and I remember balling my eyes out. After the first time I saw it, I couldn't find it anywhere else. I would ask around and no one had ever heard of the film! I guess it was one of those more rare films that not many people knew about, because no one, and I mean no one, knew what I was talking about. I searched and searched throughout the years, checking video stores shelves and scanning cable TV listings, but always came up short. Finally, in 1996 I found out I could special order it, I did, and have probably watched it at least 50 times since--and it still makes me cry, every time. Martin's Day is about Martin Steckert, a man who is in prison (but genuinely a good guy), who yearns to make it back to the special lake where he grew up as boy. This was a special place, where he lived off nature, spent time with his dog, and was left alone to enjoy life. Soon into the movie, he escapes and starts making his way back to the lake. It isn't long before the cops find him, and Steckert grabs a child as a hostage to convince the police to back off. Soon Steckert and his hostage (the 2nd Martin) become best friends, and have many fun adventures together--from robbing a toy truck, to hi-jacking a train, all on the way to this special lake. Throughout the movie, Steckert has great flashbacks of him at the lake as a boy. I won't ruin the ending for you, but I will tell you, this movie is a must see. It is the BEST movie I have EVER seen in my life! I am, without a doubt, the biggest fan of this movie EVER! I managed to find the song that the two Martin's are singing throughout the movie (\"I'm going back, to where I come from...). I'm even planning a trip to Canada to see the lake and cottage where Martin's Day was filmed. Crazy, I know--but that movie just means so much to me.", "label": 1, "domain": "movie_review", "token_count": 477, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0590", "text": "** WARNING - CONTAINS SPOILERS! ** First of all, I would like to say that I really liked this game. I got it for Christmas after two months of dropping hints to my parents. I am glad that I did that. First off, I would like to say that the single player was very good. The first level is probably one of the best in the game, when you are at a party in London, and some evil guys ruin it by kidnapping the Prime minister's daughter. Of course you have to rescue her, and it is quite a big level, but should probably take you at least five minutes. The best part, and I think also the funniest part, is when you are in the jet-pack, and people are rappelling down Big Ben. Just equip the jet-pack's most trusty rocket launcher and blast the clock faces and the enemies down. Pure fun! The rest of the levels are very good, but pretty short. There are four mini-levels you can unlock, and that is one of the let downs, because only the first two of them are actually fun, and the last two to unlock are just 'kill 25 enemies' objectives, I mean, c'mon! We got loads of points to unlock these missions and the last two bonus missions are really bad! The multi player, me and some of my friends agree, is very good and challenging, even if there are no bots. Halo didn't have any bots but that is still some fine multi player games! You can be a load of bad guys, and you go against each other, and you can also set traps, which is the best way of killing people without going into view of their character. Gameplay - 8.5/10 (levels can be quite repetitive and bonus missions could be improved). Graphics - 9/10 (there is the odd bad graphic, but that isn't extremely often). Multiplayer - 10/10 (needs no comment, just great, you get to drive in jet-packs and vehicles). Sound - 8/10 Replay value - 7/10 (the only levels I go back on are the Loondon level and Istanbul Part 1). I give this game: 8.5/10 Could have a bit of improvement, but it's still good.", "label": 1, "domain": "movie_review", "token_count": 472, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0591", "text": "This final Voyager episode begins 23 years in the future. Voyager has made it back home. In the many years it took to return tho, the Vulcan Tuvoks' mind has been destroyed. He carried a disease they were too late getting home to cure. Captain Janeway comes across aliens who have time travel technology. She realizes, there's a Warp Conduit in the Delta Quadrant that could bring Voyager home immediately - if she could go back in time and notify Voyager. There's one problem. The Conduit is deep inside Borg Space. Janeway visits Tuvok. He's like a child. He scribbles tho, obsessed, working on math problems or movie reviews or something, he's convinced are important somehow. In the institution, Tuvok cries, asking for 'Janeway' to please, please come back to him. Janeway decides to commandeer a federation shuttle and equip it with weapons technology 20 years ahead of the Borg, in the hopes of going back in time and using this new technology to guide Voyager to the Warp Conduit. When she goes back in time and links up with Voyager, Janeway meets her younger self. The two captains disagree, arguing about the plan. The real-captain visits Tuvok asking him if it's true he has a brain disorder. Tuvok admits it's true, but it can't be cured by the facilities on the ship so he's kept it to himself. The young Captain agrees to the older Captains' plan. To increase their chances of success the older Janeway plans to distract the Borg with her shuttle craft. The Borg actually capture Janeway and her shuttle. The Borg Queen personally assimilates Captain Janeway. But Janeway's expected this! the Borg Queen has assimilated a virus into herself that kills her. With the Borg Queen dead Voyager makes it thru the Warp Conduit back to federation space.", "label": 1, "domain": "movie_review", "token_count": 388, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0592", "text": "Castle in the sky is undoubtedly a Hayao Miyazaki film. After seeing it for the first time I'm glad to say that it doesn't disappoint. On the contrary, you get your time's worth, which means (as to what Miyazaki's films are concern), that is nothing less than excellent! Produced early in his cinematic career, Castle in the Sky anticipates many of the trade marks in his later movies, with strong (but young) female characters, forced to grow up due to external circumstances, helped out by very interesting (and some times lovable) supporting characters. And, of course, the usual battle of nature versus civilization, flying machines (lots of it!!), beautiful painted sceneries but alas, no pigs ( at least that i've noticed, after all I have only seen it once). Never the less, Miyazaki had already got his theatrical debut two years earlier, with Nausicãa, which was a dress rehearsal for Princess Mononoke, his magnum opus. Castle in the Sky is set a bit a part from these two, with a soft action packed first 30 minutes, resembling his TV series Conan, and his directed episodes of Meitantei Holmes. In here we are introduced to Sheeta, a girl who literally falls from the sky, only to be found by Pazu, a young boy working in a little countryside mining town. Intrigued by her amnesia and suspecting a connection between her and the mysterious flying city of Laputa, Pazu is set on helping her find out where she came from, whilst escaping the army and a gang of air pirates. As the movie progresses, the plot gets heavier and much more interesting, revealing Myiazaki at his best. The sound track is very reminiscent of Spirited Away, (or vice versa, as Castle in the sky was produced first), and much like its director, Joe Hisaishi _the composer_ starts with a very light score, that gets more complex and beautifully fitting as the plot goes forward! A note to the English dubbing, with a good interpretation from the two lead stars, although Anna Paquin's Sheeta has a very thick accent (which the actress still had at that point in her career), and a heads up for Mark Hamil as Muska, making up for a delighting yet devilish villain! Don't miss this one people!", "label": 1, "domain": "movie_review", "token_count": 488, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0593", "text": "Both Robert Duvall and Glenn Close played their roles with such believability, I simply cried. Glenn Close's role as Ruth, showed her wanting to deal with the situation, but she was under the domination of her husband. \"Let him think about what he did,\" Robert Duvall's character, Joe, said staunchly. The story depicted a rural family dealing with an accidental death of a son by his brother, called \"The Stone Boy,\" meaning he was so distraught and overwhelmed by what he did, he became emotionally paralyzed. Then towards the end when Jason Presson's character, Arnold, let it all out to a stranger, I was so broken hearted for him, that I actually thought of some of the terrible things that I did in my life. I personalized and identified with his character. Frederick Forrest's and Gail Youngs' roles, did NOT add not much to the film. I thought of Frederick Forrest, who played Ruth's antagonistic, womanizing brother, Andy, as a jerk who did nothing to try to help the situation. His wife, Lou, played by Gail Youngs, acted like a crazy-lady smacking Arnold around out of frustration with her own problems without pity and blaming him for her troubles. I could NOT really feel sorry for these two. Though Lou tried to keep her marriage together, she was unsuccessful. Both did NOT deal with their problems effectively. They really did NOTHING for the film and were totally ridiculous. Wilfred Brimley's minor role as the grandfather was, touching for he was the only character that showed Arnold any attention. I felt his role should have been elaborated. The players were just doing what they felt was adequate and sufficient. However, I really liked the ending so much, I actually smiled and cried tears of joy. I felt good. The Hillermans were a family again. I actually wanted to be a part of this family. They were so realistic.", "label": 1, "domain": "movie_review", "token_count": 397, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0594", "text": "Thanks should be given to the Hong Kong VCD/DVD distributors that I only paid US$1.4 and I could have such a surprisingly delightful enjoyment. Adultery? How common in our modern days. Eva grabbed her two children and kidnapped Nick to chase after Luis and Charlotte to Italy. She wants her revenge done but at the end, she also commits the same crime of Luis: she had sex with Nick. In this small indie production, Vivian Naefe dealt with the teething problems in modern marriage with a light heart. How can one dare treat marriage seriously in this fast-food time where people are now of higher mobility in physical, mental and technology areas? Conjugal commitment asks for too high a price that most people would choose to succumb to circumstances. Nick once trusted Charlotte but he fell for Eva after that kidnap journey which forced him to experience much growth. Most viewers may feel happy about the ending because Eva and Nick come together, well, this should be the greatest retribution to the unfaithful act of their spouses. However, I want a sequel, I want to see how the four would develop after this exchange. Perhaps they may exchange back, how can one be so sure about the shaky love relationship. Good acting and good scenery. The two little child-actors should not be neglected especially the boy when he cries at the reception of the hotel in Venezia. And of course, how can we forget the \"bella, bella\" scenery of the city.", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0595", "text": "THE FOURTH MAN (Paul Verhoeven - Netherlands 1983). A film based on a novella by Gerard Reve, that works best as a thriller. That's quite surprising, considering Reve roughly needs a hundred pages for just a minor plot twist and tension is the last thing on my mind when reading his work. \"The Fourth Man\" is top-heavy on symbolism. Paul Verhoeven is generally extremely preoccupied with proving something to mostly hostile critics and I'm never sure what it is exactly he is trying to prove. He usually underestimates his audience and tells his story in such an unsubtle way, he quickly diverges from the original idea or storyline, and almost seems to forget what needs to be seen on screen and what needs to be left out. In \"The Fourth Man\" he is not as explicit on detailing the plot as he is with sex and nudity (of which there's plenty) but, as in most of his films, he seems afraid the audience wouldn't get it and hammers home the story with overt symbolism mixed with some supposedly shocking nudity and graphic sex scenes. There's hardly a scene without sex or full-frontal nudity, most of it so maddeningly gratuitous and in your face, it undermines an otherwise good story. Nevertheless, when you can cope with Verhoeven's pretty obvious satiric approach, it's quite an entertaining thriller at times with some intriguing plot twists and good performances all round, Thom Hoffman and Jeroen Krabbé in particular. Camera Obscura --- 7/10", "label": 1, "domain": "movie_review", "token_count": 314, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0596", "text": "I was having just about the worst day of my life. Then I stumbled on this cute film, watched it, and now I'm ready to go out & kiss a streetlamp. I have to admit, I only watched it for 2 reasons: VERA-ELLEN'S LEGS. But it's really so much more. The plot is actually quite clever and creatively woven. It's almost like a Shakespearean comedy with all of its delightful misunderstandings. And of course there's also... VERA-ELLEN'S LEGS. The only unfortunate aspect of this film is that the version I purchased (the \"100 Family Classics\" collection by Mill Creek Entertainment) doesn't have the best video quality, and I've heard the same about the Alpha release. The brightness and contrast are a bit too high, so a lot of the scenes seem bleached out especially when Vera is dancing in a white dress. But I suppose you can fiddle with the controls of your TV set to compensate. I can only imagine how it looked on the big screen back in '51. The stage sets, costumes & colours are otherwise dazzling & delightfully creepy--sort of in a \"Cabinet of Dr. Caligari\" vein. As far as the romance goes, this is just perfect. Not sappy, not contrived, not melodramatic. Just 100% ahhhhhh. Too bad, you poor schmucks, your miserable lives will never be as charming as this. Har har har. Wait, what am I laughing at? My life sucks just as bad as yours. Oh hell. Time to watch this movie again.", "label": 1, "domain": "movie_review", "token_count": 334, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0597", "text": "The literary genius of Vladimir Navokov is brought to the screen again and many in the cultured world will take notice. The director puts us in check mate with the story of Alexander, an absentminded chaplinesque study of chess addiction. Nastasya is vacationing in a marble columned resort where a chess championship is being hosted. She meets Alexander by picking up a queen piece he drops thru his coat pocket. A magnetic attraction evolves whereby he proposes the next day, the mother alarmed telegrams the husband. He arrives and questioning Alexander we get these fades to the past, ala' Godfather II, where we see young Alexander, a child prodigy. He is taken under a school teachers wing and exploits his genius for 10 yrs making vast sums. Thinking Alexander reached his peak, abandons him but becomes legend. The old teacher returns causing harm, trying to give victory to an old rival of Alexander. In a serious chess game where World Chess Champion victory is one way to immortality, the chess clock ticks, match time ends to conclude the next day. That day is Nastasya's wedding, the old teacher interferes and Alexander is sent on a nervous breakdown. Nastasya, holding her stomach and looking thru her love's coat finds his strategy for the match and follows the moves. Though the film unfortunately sways from its Russian roots, its low back cut dresses are lovely, Alexander plays his role sublimely.The director underestimated her audience, we hardly ever get to play and the only hint of The Luzhin Defense is after trading queens, isolate the opponents King with your 3 paws & King, sacrificing the castle for mate. Nastasya is a great match, but feel its conclusion deserved more intensity, but maybe the emotions were right on check for chess meant more to him than her. The Luzhin Defense elegantly gives Navokov honor, the complexity of his work in images is a world event not to be missed.", "label": 1, "domain": "movie_review", "token_count": 402, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0598", "text": "A Matter of Life and Death, what can you really say that would properly do justice to the genius and beauty of this film. Powell and Pressburger's visual imagination knows no bounds, every frame is filled with fantastically bold compositions. The switches between the bold colours of \"the real world\" to the stark black and white of heaven is ingenious, showing us visually just how much more vibrant life is. The final court scene is also fantastic, as the judge and jury descend the stairway to heaven to hold court over Peter (David Niven)'s operation. All of the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is beautiful, never has there been a more romantic film than this (if there has I haven't seen it). A Matter of Life and Death is all about the power of love and just how important life is. And Jack Cardiff's cinematography is reason enough to watch the film alone, the way he lights Kim Hunter's face makes her all the more beautiful, what a genius, he can make a simple things such as a game of table tennis look exciting. And the sound design is also impeccable; the way the sound mutes at vital points was a decision way ahead of its time This is a true classic that can restore anyone's faith in cinema, under appreciated on its initial release and by today's audiences, but one of my all time favourites, which is why I give this film a 10/10, in a word - Beautiful.", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0599", "text": "49. PAPERHOUSE (thriller/horror, 1988) Sick in bed with a fever 11-year old Anna (Charlotte Burke) has only her drawings to keep her company. Her health progressively worsens as a series of mysterious 'black outs' grip her. In each of these episodes she dreams of a house in a desolate field, with only a sickly-invalid boy named Marc (Elliot Spiers) inhabiting it. When a dark, unknown danger threatens her idyllic \"paperhouse\", the life of Marc is put in jeopardy. Her life is also in danger as these dreams mirror her own state of health. Critique: Haunting first debut feature from British director Bernard Rose. Taken from a fable (\"Marianne Dreams\") by Catherine Storr, it leaves plenty of other 'original' fantasy works in its wake. Whenever a story deals with dreams and nightmares it is hard to give it the mixture of fable and reality to make it work in film form. Director Rose successfully captures the children fantasy world aspect along with a darkness that seeks to usurp them. Feverishly scored by Phillip Glass, Rose knows how to use music wisely with expertly timed 'jump out of your seat' moments. Most thrillers are very sloppy in this all-important aspect of scaring the audience into not knowing what the next scene will bring. I also like the way he captures suspense and never lets it go or falter sluggishly into the next sequence of events. Also, his mastery of placing objects within the frame (as in his P.O.V.shots) gives the cinematography an added dimension it would otherwise seem to lack. Only in Europe will you find such ominous looking places as the ones presented here: the lonely house, the fields, coastal towns, watchtower etc. Rose would follow this film with \"Candyman\" (1992), a true 'thinking person's' horror gem and bona fide cult horror favorite.", "label": 1, "domain": "movie_review", "token_count": 399, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0600", "text": "I have always been a fan of David Lynch and with this film Lynch proved to critics that he has the talent, style, and artistic integrity to make films outside of the surreal aura that he's become known for in the past decade. As much as the film is G-rated, it's pure Lynch in style, pacing, and tone. The film moves at a masterfully hypnotic pace and is filled with scenes of genuine emotion and power. The cinematography is terrific, as is to be expected from a Lynch film, and the transitional montage sequences are breathtaking. It's also very refreshing to see a film where the characters are all friendly, kindhearted folk and not unmotivated characters that are clearly labeled as being either \"good\" or \"evil\". Richard Farnsworth turns in a beautiful performance as do the rest of the cast, most notably Sissy Spacek in an endearing performance as his daugher, and Harry Dean Stanton in a small but infinitely crucial role. With this film, David Lynch proved to critics that he could make a powerful moving motion picture just like he did in the 80's with 'Blue Velvet' and 'The Elephant Man'. Critics seemed to lose faith in the past decade after he produced such surreal films as 'Twin Peaks: Fire Walk With Me' and 'Lost Highway' but with this film he showed that there was method to FWWM and LH, and it looks as if critics finally caught on with his recent film 'Mulholland Drive', considering the high praise it's received and the Oscar nomination for Lynch. 'Straight Story' is to me one of the most moving motion pictures I've ever seen. It's a loving story about family, friendship, and the kindness of strangers. I would highly recommend it.", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0601", "text": "The great Vincent Price has done many fantastic Horror films, some of which range among the greatest genre gems of all-time. Price's greatest achievements were doubtlessly his films in the 60s, with films such as Roger Corman's brilliant Poe-cycle (still the greatest Horror cycle of all-time), Michael Reeves' \"Witchfinder General\" (1968) or Ubaldo Ragona's \"The Last Man on Earth\" (1964) marking the ultimate highlights of this brilliant man's career. The films that made the man famous and thereby made him the immortal Horror icon he is, however date back to the 50s, with \"House of Wax\" (1953) marking his rise to stardom. \"The Mad Magician\" of 1954 follows a plot that is very similar to that of its successful predecessor. This is not to say, however, that this film isn't an original, delightfully macabre and absolutely wonderful gem itself. As the lines above may suggest, Vincent Price is my favorite actor, and, while I personally would not allow myself to miss anything the man has been in, none of my fellow fans of the man may miss this little gem. Price stars as Don Galico (aka. Galico the Great), an underrated master magician and inventor of magic devices, whose boss, a sleazy businessman, stole his wife (Eva Gabor) from him. When the boss takes away one of Galico's ingenious inventions and gives it to his rival, The Great Rinaldi (John Emery), Galico snaps, and a murderous spree of revenge begins... Don't we love Vincent Price when he's out for revenge? Some of his most famous and greatest films such as \"The Abominable Dr. Phibes\" (1971) or \"Theater of Blood\" (1973) were about absurd and delightfully macabre revenge murders, and this earlier film in his Horror career is another proof that no one takes revenge as Vincent Price does. This film provides a wonderfully eccentric leading role for Price, who, as always, delivers a brilliant performance, and guarantees 70 minutes of outrageously entertaining and macabre fun for every Horror fan. Another must-see for my fellow Price fans.", "label": 1, "domain": "movie_review", "token_count": 462, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0602", "text": "Hi all I am a chess enthusiast since the age of about 6. I supposed I am quite obsessed by chess, but hopefully not as much as the central character in this film. In this film, the central character reflects a real chess player called Curt von Bardeleben who committed suicide in 1924. He is famous for a game he played against Steinitz, where a beautiful combination was played by Steinitz. Instead of resigning, he simply walked out of the tournament hall, never to return. The social ineptness of the central character is unfortunately a treat of some of the more serious Grandmasters you sometimes get in chess tournaments. Chess I suppose is a very big sacrifice, and you can sometimes end up imbalanced in other areas of life. A major example of this is the chess legend Bobby Fischer. Although a genius, he was also very disturbed in many ways. In the film, a World championship match is depicted, as between an Italian Grandmaster and Luzhin. The format is a knockout, which actually the world Governing body of Fide has sometimes employed as a format itself - going from 128 players to just 2 in the final. But this was a group knockout - which also depicts a realistic format, where the winners of each group play against each other. The position before adjournment makes for a fascinating chess puzzle in itself. In fact, I have done a youtube video about it, for you to explore the winning combination in detail - enjoy! http://uk.youtube.com/watch?v=XZPtdtPhwdM Best wishes Tryfon", "label": 1, "domain": "movie_review", "token_count": 323, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0603", "text": "You'd think you're in for some serious sightseeing when the premise of the movie takes place primarily between two characters as they travel 3000 miles or so from France to Saudi Arabia, going through most of Europe - Italy, Bulgaria, Croatia, Slovenia, Turkey, before arriving in the Middle East. But this is not a tour, and there are no stopovers for soaking in the sights. Reda's father is in his twilight years, and wishes to do the Haj. However, since walking and taking the mule is out of the question, he chooses to travel to Mecca by car. He can't drive, and therefore enlists the help of Reda, to his son's protest, to get him there in their broken down vehicle. But Reda doesn't see the point of having him go along, when his dad could opt for the plane. He resents the idea of having put his personal life on hold for this pilgrimage he couldn't understand. And hence, we set off in this arduous journey with father and son, being not the best of pals. The beauty of this movie is to witness the development of the father and son pair, the challenges they face, the weird people they meet, having to duke it out in varied weather conditions, and alternating rest stops between motels and sleeping in the car. We see an obvious generation gap in them trying to communicate to each other, the father trying to impose on his son, and the son trying to assert himself as an adult, but circumstances we see, reveal that Reda is quite a fish out of water. Through the many encounters, they actually team up quite well despite their differences. It's perhaps quite apt to have this film released here last week to coincide with Hari Raya Haji, and having the opportunity to watch our protagonists join the other pilgrims in their Haj. The final scene in Mecca is truly a sight to behold, and you too would feel the claustrophobia and fear as Reda tries to hunt down his dad amongst the thousands of people congregating. The sights of Europe were perhaps deliberately not dwelled upon, so as to build up the anticipation of and focus on the final destination. It certainly rang home the thought of telling and showing loved ones how much you appreciate them for who they are. Don't miss this, and yes, book early - I was pleasantly surprised that this evening's session was still a full house.", "label": 1, "domain": "movie_review", "token_count": 495, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0604", "text": "In the ten years since Wildside aired, nothing has really come close to its quality in local production. This includes the two series of the enjoyable but overrated Underbelly, which have brought to life events in the recent criminal history of both Sydney and Melbourne. The miniseries Blue Murder (which also starred Tony Martin, but as someone on the other side of the law) may be the exception. Wildside is currently being repeated late at night on the ABC. Having not watched the show in quite a while, I'm still impressed by its uncompromising story lines and very human characters. The cast is excellent: Tony Martin as a detective haunted by the disappearance of his son, Rachael Blake (who later hooked up with Martin in real life) as a community worker struggling with alcoholism, and Alex Dimitriades as a young cop whose vice is gambling. Equally good support roles are provided by Aaron Pederson, Jessica Napier, Mary Coustas (yes, Effie herself), and a young Abbie Cornish. The ABC inexplicably released only the first three episodes on DVD a couple of years ago. The logic of this sort of marketing is beyond me, but I'm guessing it may have something to do with licensing disagreements with the original producers. A great series which has aged remarkably well. Here's hoping the ABC's DVD department gets its act together. (According to a moderator on an ABC message board, some sort of further DVD release is due in December 2009)", "label": 1, "domain": "movie_review", "token_count": 306, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0605", "text": "After dipping his toes in the giallo pool with the masterful film \"The Strange Vice of Mrs. Wardh\" (1971), director Sergio Martino followed up that same year with what turns out to be another twisty suspense thriller, \"The Case of the Scorpion's Tail.\" Like his earlier effort, this one stars handsome macho dude George Hilton, who would go on to star in Martino's Satanic/giallo hybrid \"All the Colors of the Dark\" the following year. \"Scorpion's Tail\" also features the actors Luigi Pistilli and Anita Strindberg, who would go on to portray an unhappy couple (to put it mildly!) in Martino's \"Your Vice Is a Locked Room and Only I Have the Key\" (1972). (I just love that title!) I suppose Edwige Fenech was busy the month they shot this! Anyway, this film boasts the stylish direction that Martino fans would expect, as well as a twisty plot, some finely done murder set pieces, and beautiful Athenian location shooting. The story this time concerns an insurance investigator (Hilton) and a journalist (Strindberg, here looking like Farrah Fawcett's prettier, smarter sister) who become embroiled in a series of grisly murders following a plane crash and the inheritance of $1 million by a beautiful widow. I really thought I had this picture figured out halfway through, but I was dead wrong. Although the plot does make perfect sense in this giallo, I may have to watch the film again to fully appreciate all its subtleties. Highlights of the picture, for me, were Anita's cat-and-mouse struggle with the killer at the end, a particularly suspenseful house break-in, and a nifty fight atop a tiled roof; lots of good action bursts in this movie! The fine folks at No Shame are to be thanked for still another great-looking DVD, with nice subtitling and interesting extras. Whotta great outfit it's turned out to be, in its ongoing quest to bring these lost Italian gems back from oblivion.", "label": 1, "domain": "movie_review", "token_count": 433, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0606", "text": "\"Read My Lips (Sur mes lèvres)\" (which probably has different idiomatic resonance in its French title) is a nifty, twisty contemporary tale of office politics that unexpectedly becomes a crime caper as the unusually matched characters slide up and down an ethical and sensual slippery slope. The two leads are magnetic, Emmanuelle Devos (who I've never seen before despite her lengthy resume in French movies) and an even more disheveled than usual Vincent Cassel (who has brought a sexy and/or threatening look and voice to some US movies). The first half of the movie is on her turf in a competitive real estate office and he's the neophyte. The second half is on his turf as an ex-con and her wrenching adaptation to that milieu. Writer/director Jacques Audiard very cleverly uses the woman's isolating hearing disability as an entrée for us into her perceptions, turning the sound up and down for us to hear as she does (so it's even more annoying than usual when audience members talk), using visuals as sensory reactors as well. None of the characters act as anticipated (she is not like that pliable victim from \"In the Company of Men,\" not in individual interactions, not in scenes, and not in the overall arc of the unpredictable story line (well, until the last shot, but heck the audience was waiting for that fulfillment) as we move from a hectic modern office, to a hectic disco to romantic and criminal stake-outs. There is a side story that's thematically redundant and unnecessary, but that just gives us a few minutes to catch our breaths. This is one of my favorites of the year! (originally written 7/28/2002)", "label": 1, "domain": "movie_review", "token_count": 352, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0607", "text": "David Lynch's (1999) film of John Roach / Mary Sweeney's story is set in Iowa and Wisconsin some time well before the film's eventual release. We come into the life of Alvin Straight (Richard Farnsworth) late on in life. His medical condition is poor, his life is mostly behind him and he knows it. This makes what he decides to do, even more remarkable and endearing. He decides (and at every point in the film his own name reverberates through his actions) to put a few things straight. Alvin is, by this time in his life, a man of great experience but modest means. His daughter Rose (Sissy Spacek) struggles with a speech impediment that makes communication a great effort on the audience's behalf. But it's worth it, because Rose's story cannot help but come out as the film progresses. This film is the story of a journey. But like all journeys it is a journey in the geographical sense and in the human sense. Early on in the film, we begin to understand that this is an ambitious journey, which no elderly gentleman of Alvin's age should reasonably undertake. But along the way, we slowly learn how Alvin has so many qualifications which equip him to achieve his unlikely objective. His objective is very simple and straightforward. His brother is ill and likely to die and he wants to visit him. He has had a falling out with him many years ago and they have not spoken in a very long time. Along the way, Alvin meets many people. The way he behaves towards them and the benefit they get from having known him is the essence of this film. We come to know who Alvin Straight is, from what Alvin Straight does. And at the end of the film, we know who we are .. better.", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0608", "text": "As the film opens, two thugs kill another thug. When the body is discovered and about to be autopsied, the doctor realizes that although the man was shot dead, he was also suffering from the Pneumonic plague--a very nasty and more virulent version of the Bubonic plague! So, it's a race against time to find those who came in contact with the dead man and treat them immediately, otherwise a disaster could erupt. Oddly, I actually know quite a bit about the Pneumonic plague, as I taught a series of lectures on it for my history classes. The film really did not do a good job of getting the facts right about the disease in that it looked little like what the people had in the movie. The biggest problem is that this illness is so incredibly grotesque that in 1950 they really wouldn't have been allowed to show it. Sure, there is high fever and coughing (they got this right) but also lots of bleeding and explosive vomiting of blackened blood--along with the enormously swollen lymph nodes like you'd get with the Bubonic plague--all purply and gross! I can certainly understand why they didn't go this far. Also, I am sure that the federal government would have had a much, much greater involvement in controlling and treating the disease--here in the film it was handled on a very local level and everyone seemed ill-prepared and a bit dumb. No one seemed willing to believe the doctors!! As for the acting, the film had some excellent actors here. Richard Widmark and Paul Douglas are, respectively, the public health doctor and police chief. Good actors but also known actors back in 1950. However, in his first film is the very menacing Jack Palance (still going by his original moniker, 'Walter Jack Palance') as well as the relatively unknown (at the time) Zero Mostel. Palance was great--very scary and very physically adept in his own stunts. Mostel played a heavy typical of his early work--a greasy and cowardly sort of evil. Overall, despite really not getting the details right and wrapping everything up a little too neatly, the film is very tense and has excellent acting--and is well worth seeing.", "label": 1, "domain": "movie_review", "token_count": 461, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0609", "text": "An unusually straight-faced actioner played by a cast and filmed by a director who obviously took the material seriously. Imperfect, as is to be expected from a film clearly shot on a tight budget, but the drama is involving-- it's one of those films that when it gets repeated ad nauseum on Cinemax 2 or More Max or whatever they call it, you end up watching 40 minute blocks when you're supposed to be going to work. Along W/ \"Deathstalker 2\", \"Chopping Mall\", and \"The Assault\", a reminder that Wynorski is a much more talented director than many of his fellow low-budget brethern, who has a real ability to pace a genre film, when he actually's interested in the material (i.e., don't bother watching any of his Shannon Tweed flicks with a 3 or a 4 after the title!) Actors who've had too little to do recently (Mancuso, Ford, even Gary Sandy for chrissakes) really put their all into some of their best roles in years -- as for Grieco, he has the right look, although his acting is a bit one-note -- it's clear his character is supposed to be self-destructing throughout the film, but Grieco doesn't quite convey it. I checked IMDB and I see the writer also wrote \"Sorority House Massacre 2\" & \"Dinosaur Island\" for the director -- both minor classics in their own rights, but obviously \"silly\" Roger Cormon-like Cinema -- this one's more like some of the better Jonathan Demme and Jonathan Kaplan B-pictures of the 70's -- giving you the exploitation element but offering involving drama at the same time -- a real step forward. Not \"Citizen Kane,\" and the comic final moments are a bit disruptive, but a well-written, character-driven above-average straight-to-video actioner. Small achievements like this should not be overlooked when they come along, which is rare enough (as I was reminded as I tried to sit through an Albert Pyun monstrosity called \"Heatseeker\" the other night -- this low-budget stuff isn't as easy as it looks -- but that's another story!)", "label": 1, "domain": "movie_review", "token_count": 453, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0610", "text": "I sat down to watch this film with much trepidation and little hope. I didn't think it would be possible for this film to live up to its subject matter. But it absolutely did, and then some. First, I must say that Jared Harris did an extraordinary job as John Lennon. At times it seemed that Harris was channeling Lennon. The resemblance was often uncanny, and he clearly studied Lennon's mannerisms and vocal inflections. Aiden Quinn was quite good as McCartney, also bearing a striking resemblance to Macca, although he did occasionally trip over his Scouse accent. This work of fiction was well-written and well-directed. It was pure fantasy, of course, but sometimes I felt like a voyeur peeking through a keyhole at this reunion. The rooftop scene was especially moving, as McCartney told Lennon what he had never heard as a child--that he was worthy and important, and it could never be his fault that he was abandoned by his parents. I also enjoyed the scene in the park where the pair of them danced with absolute abandon to the reggae band! My one complaint would be this: I am not so sure that John was as caustic as he was portrayed in the film at this stage in his life. He had settled in to his domestic situation quite nicely, and he was actually known to be quite friendly when approached by fans. Only a few years later, he was very friendly when he was first approached by his assassin for an autograph on the day he was murdered. Mostly this film served to stir up those feelings again about what might have been had John lived a bit longer. I am quite sure the Beatles would have come back together at some stage. And I am quite certain that Lennon and McCartney would still be friends today. Well done, VH1. I will watch it again and again.", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0611", "text": "This movie is very entertaining, and any critique is based on personal preferences - not the films quality. Other than the common excessive profanity in some scenes by Murphy, the film is a great vehicle for his type of humor. It has some pretty good special effects, and exciting action scenes. As a finder of lost children, Murphy's character starts off looking for a missing girl, which leads him on the path for which others believe he was \"chosen\" - - to protect the Golden Child. The young boy is born as an enlightened one, destined to save the world from evil forces, but whose very life is in danger, if not for the help of Murphy, and his beautiful, mysterious and mystical helper/guide/protector. Also, there are moments of philosophical lessons to challenge the audience members who are interested in pondering deep thoughts. One such scene is where the Golden Child, that Murphy's character is solicited to protect, is tested by the monks of the mountain temple. An elderly monk presents a tray of ornamental necklaces for the child to choose from, and the child is tested on his choice. This is a fantasy/comedy that is based on the notion that there are both good and evil forces in our world of which most people are completely unaware. As we accept this premise of the plot, we must let go of our touch with a perceived daily reality, and prepare for the earth and walls to crumble away, and reveal a realm of evil just waiting to destroy us. This is an excellent movie, with a good plot, fine acting, and for the most part, pretty decent dialogue combining a serious topic with a healthy balance of Martial Art fighting, and Eddie Murphy humor.", "label": 1, "domain": "movie_review", "token_count": 344, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0612", "text": "I read the negative comments before viewing this film and undeterred, went ahead and started watching. I admit that I had to rewind quite a few times as the film is incredibly complex, involved and full of detail. That is a good thing but also, quite unexpected in this culture of car chases, explosions, gratuitous sex and general violence that substitute for plot and character development. In fact, what a welcome departure, however, I am so used to not paying a lot of attention to what I watch. This film is chock full of character development and plot line; the kind that we used to analyze when I was in high school. It requires actual mental participation on the part of the viewer. What a nice change. I would compare it to 'All The President's Men' in terms of generic subject matter. That is, it is a mystery about intense misconduct on the part of elected officials and those with enough influence upon officials to essentially 'own' them. Unlike 'All The President's Men', this film makes an effort to give a couple of the characters actual personality. In this sense the movie is a character study like 'The Negotiatior' with Samuel Jackson and Kevin Spacey. In that movie, their characters are both city employees and the plot is extremely intense. Yet, the plot is dependent on the ability of their characters to cooperate with each other, trust each, and ultimately unite together against the corrupt Police Department. There is more gun fire in this film and the specific plot is different but generically, there are many similarities. I WILL say that City Hall requires a whole lot more concentration. In fact, I was struck how parallel it was to past and present political scandals I've seen in my life going back to Watergate. The thing is, the public knows that something is wrong, for sure! but following the details is hard to do. This movie is not even close to being as complex as real life but it actually is realistic to life in its complexity. I think that is one of the reasons that previous posters have criticized the film: unrealistic expectations. If one watches this knowing what they are about to see and are up to the experience, it really is excellent! I watched it 3 times in a row! The acting is superb and the directing is flawless. The weakest link is John Cusak's accent.", "label": 1, "domain": "movie_review", "token_count": 477, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0613", "text": "I myself feel this film is a rare treasure. Not only is it the beginning of Shirley Temple's career, but a rare look on how our society has changed. You have to understand, certain things we today would view as sexual, back then would be considered innocent. For example, the parents of the children in the film as well as the many parents who took their children to see this movie, saw this as just children mimicking adults. Most people didn't think of anyone viewing children sexually attractive, other than teenage boys lusting over teenage girls. To them it wasn't sexual. Mind you this was before we had internet, TV, etc... Most sex crimes weren't openly brought up. Occasionally there would be a whisper about the kid with the \"funny uncle.\" But that was often all that came of it. Yes very sad. But it is kinda sad today, for even I too can see this film as anything other than what it was intended, innocent and funny. When I saw Shirley dance like that and the boys eye balling her, yes I felt disturbed. I have to remind myself the time this took place! Those children didn't know what sex was. The parents knew that, both those of the children in the movie and those watching it. The thought may not have even entered their minds. In the eyes of the average adult back then, this was no more sexual then if Shirley was playing house. Even today kids will enter beauty contest, many dressed up extremely maturely, for a three yr old. However the child is merely pretending. I don't blame the child for wanting to act like an adult. Or the old movies that display this. In all honesty, our media has made a lot of things seem back then seem sick and wrong. This sometimes can be for the best. But I truly believe this movie isn't one of them. It gives a rare look of an innocent mentality, that we have long lost.", "label": 1, "domain": "movie_review", "token_count": 394, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0614", "text": "Bacall does well here - especially considering this is only her 2nd film. This one is often overshadowed because it falls between 2 great successes: \"To Have and To Have Not\" (1944) and \"The Big Sleep\" (1945), both of which paired her with Humphrey Bogart. Granted this one is not up to par to the other movies but I think through no fault of her own. I think there was some miscasting in having her portray a British upper-crust lady. No accent whatsoever. I think all the strange accents were distracting - Boyer was certainly no Spaniard. It was hard to keep straight which country people were from. I really liked the black and white cinematography. Mood is used to great affect - I especially liked the fog scene. The lighting also does a great job of adding to the intrigue and tension. Bacall is just gorgeous. Boyer just doesn't fit the romantic leading man role for me - so he and Bacall together was a little strange. Not great chemistry - and certainly no Bogie and Bacall magic. But I still really liked this picture. There is great tension and it moves along well enough. I must say I found the murder of the little girl quite bold for this period film. Katina Paxinou and Peter Lorre stand out as supporting cast. Paxinou as the hotel keeper is absolutely villainous and evil in her portrayal. Her one scene where she laughs maniacally as Mr. Muckerji is leaving after exposing her as the child's murderer is quite disturbing. Lorre also does quite well in his slimy, snake portrayal of Conteras - a sleazy coward to the end. Wanda Bendrix also does quite well in portraying the child Else - especially considering this was her first picture and she was only 16 at the time (though she appears much younger). Turns out she later married Auie Murphy which proved to be a short lived, tempestuous marriage.", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0615", "text": "I've just seen this movie for the second time on television. It's lovely, warm, sentimental, very very romantic. I've rarely seen actors better able to reveal by their movements and gestures love for another -Cybill Shepherd, Ryan O'Neal, Robert Downey,Jr. and especially Mary Stuart Masterson simply outdo themselves. Masterson probably has the hardest role and is just adorable. The movie is in the vein of both romantic movies such as While You Were Sleeping, When Harry Met Sally, Sleepless in Seattle and the \"high gimmick\" sorts of movies like Big, Back to the Future, Peggy Sue Got Married. I hate to say this, because this cast was superb and I'd never change any of them- but I think it didn't succeed as well as the movies mentioned above because the box office appeal of the cast was just not as great as Meg Ryan, Tom Hanks, Michael J. Fox, and Kathleen Turner at the time the movie was made. It's not superbly written - e.g., the characters' lines are not particularly memorable. Yet it's executed to perfection. The romantic yearnings are truly palpable, the \"feeling\" of people falling in love is exquisitely communicated, love's timelessness and all-encompassing sweep, the feeling of loss and desire to recapture that connection, are so touchingly delivered. Again and again, you will find yourself moved. Actually, a comparable movie is Made in Heaven -the same romantic yearning. Do see this - it's lovely.", "label": 1, "domain": "movie_review", "token_count": 316, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0616", "text": "This movie appears to have designed as a Fred Astaire-Ginger Rogers film--the plot outline, dance numbers, zippy music and the entire formula is there...except for Ginger! Whether it REALLY was originally intended as a re-pairing of the team is uncertain but it sure has the look of one of these films. Instead of the usual sidekicks for Fred (such as Eric Blore or Edward Everett Horton), Burns and Allen are used--probably since despite being known as a comedy team, they COULD sing and dance quite well. This actually shocked me, but the team were a welcome addition and some of the traditional Fred and Ginger numbers were done with either Fred and Gracie or these two along with George. Only once, at the very end, does Ms. Fontaine dance with Fred but it's very brief and with a distant camera shot. And speaking of Burns and Allen, I think I owe it to the team to talk about them in the film. I have never been a fan of their show or their movies. In general, I find Gracie's idiot act very annoying and I have given some poor reviews to their movie shorts and full-length films. However, in this film I must admit that they were great--not only dancing competently but I actually thought they were funny and filled the hole left by Edward Everett Horton very nicely. They were on top of their game and the writers did a wonderful job in this department. Now as for the rest of the film, it's all a lot of fun and is entertaining. The problem for me, though, was that Joan Fontaine was not a particularly good choice for the movie--not just because she was acting outside her range (after all, she wasn't a singer or dancer), but because she had the screen presence of a ball of lint. Because of this, the usual balance and great boy-girl dialog was lacking. There was also a very charming performance by Harry Watson as a devilish little boy who did everything he could do to play cupid--all because he wanted to win a bet! And finally, I loved the Fun House and Tunnel of Love sequence--it is too hard to describe but is so much fun to watch! Overall, I did like the film quite a bit--it had a lot of charm and excellent writing. Unfortunately, it also featured a bland performance by Ms. Fontaine that knocks off a point--bringing my score for this film to 7.", "label": 1, "domain": "movie_review", "token_count": 498, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0617", "text": "Its about time that Gunga Din is released on DVD. I cannot accurately say how many times I have watched this fine film but, I never tire of it. The lead actors worked so well together. Victor Mclaglen (Sgt McChesney), Cary Grant (Sgt Cutter) and Douglas Fairbanks Jr (Sgt Ballentine) are an unbeatable team. I just cannot get over their exploits in India. Your first glimpse at the Sergeants Three, is when you see them engaged in fighting with other soldiers over a so-called treasure Map. The three Sergeants are sent on an expedition to find out what happened to the communications line an they enter a mostly deserted town- or so they think. They engage in the necessary repairs and soon find a few \"residents\" in hiding. Soon after they get attacked by a group of madmen and barely make an escape back to base. Later they are sent on another mission which gives Sgt Cutter a chance to go hunting for the Gold with Din. They find the temple of gold and are trapped by the evil Kali supporters. Din is sent to fetch help and Cutter gets captured. Soon McChesney and Ballentine arrive with Din, and they are too captured. Faced with being killed, they watch helplessly as their Regiment comes to rescue them. The evil doers watch and are about to spring their surprise attack when a wounded Din climbs onto the golden dome and blows his bugle which then alerts the British to the ambush. In doing this, Din is shot dead. The Soldiers attack the evil ones and soon defeat them. At the end, Din is honored as he is made an honorary Corporal in the British Army.", "label": 1, "domain": "movie_review", "token_count": 345, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0618", "text": "I have to admit that Tsui Hark is one of a kind, you can't top a person with a strong style of movie presence. A Chinese fantasy picture may not be easy to present to an audience, the director attempted to bring back the classic fantasy tales of Zu Mountain and this is what he displayed. The new Legend of Zu has truly improved from the one in 1983. From this new millenium update, we could see Tsui Hark's vision of the Zu mountains. Spectacular visual designs, amazing action-fantasy epic made beautifully well. Kept me glued through the entire picture. Great cast with just fine acting. It's truly a fun movie to watch, but is it too weird? Now the down side is people will definitely get confused with it's broad story line shortened down into a 95 minute movie. Plot may not have much relation among characters, but by rewatching the movie, you'll have a better sense of understanding the characters itself. Some can complain there isn't too much physical combat, besides with characters that have supernatural powers to defeat foes, spirits fighting by hand-to-hand wouldn't really make sense at all. I appreciated this nice stylish picture. It may have a thin story, but hey look at Tsui Hark's \"Time & Tide,\" we got confused by the plot as well, but it was truly something stylish and awesome. Tsui Hark always attracts something different into H.K. Cinema. American audiences, may have some difficulty to understand while watching this movie, cause this ain't no Crouching Tiger, Hidden Dragon, this is a whole new genre. Although it may not be a masterpiece, but it's special effects is truly better than Storm Riders. This is really worth checking out.", "label": 1, "domain": "movie_review", "token_count": 357, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0619", "text": "\"El Mar\" directed by Catalonian director Agusti Villarona, and based on the novel by Blai Bonet, offers a glimpse of the Spanish history as seen by a Balearic author that takes the viewer back to the days of the civil war in that country. The movie concentrates on three friends, and follows them from those early days during the onset of the war in Majorca, to a few years later as two of those friends meet again when they are at a sanatorium, lost in the countryside. We first meet three boys that are playing happily. Not everything is what it seems. The tragic death of one of them points out about the cruelty of the one that commits the evil deed. The boys have excluded a young girl, about their age, from taking part in their games. When we meet the adult Ramallo again, he is on his way to a sanatorium. He seems to be suffering from tuberculosis. To his surprise, Manuel Tur, one of his boyhood friends is also being treated, and the young girl that was not welcomed to participate in their games is now one of the nuns that supervise their health care. It is obvious that Tur looks at Ramallo in a way that only means he is in love with the tough bully. Their relationship will have devastating consequences. Roger Casamajor does a good job with portraying the older Ramallo. Bruno Bergonzino makes an impression as Tur, the vulnerable youth. Antonia Torrens plays Sor Francisca with conviction. Angela Molina, puts an appearance as Carmen, the wife of the caretaker of the institution. Simon Andreu is perfect as Alcantara. \"El Mar\" is a dark film that clearly shows Agusti Villarona's talents in making the novel come alive for the viewer.", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0620", "text": "Having just finished Cronicles of the Heroic Knight mere minutes ago I find myself extremely please but questions still loom over me. While it would appear that the first 7 episodes or so are actually a retelling of the events of the first Record of Lodoss War the truth is that they really aren't. It would appear that the creator of CotHK had a different vision as to how the original ended (and that may be the reason that the first 7 episodes occur) but I do not find that to be the case. CotHK does say it starts 5 years after the War of Heros which Parn was a part of. I think the director made the first 5 episodes seem so much like a recap of the original just to give the viewer a small reminder and an introduction to characters and their deeds done because they appear much less after the series kicks into Spark's story. Now, once the series does kick into Spark's portion we find ourselves kicked up another 10 years (15 years now since the War of Heros). Spark and his crew do, in some cases, resemble Parn and his crew once the journey kicks into gear, especially the love story that brews between Spark and Neese. I also thought several times throughout CotHK that I threw in the original series and if it wasn't for Spark's long blue hair I know I would've pressed stop more than once to make sure the right disc was in. By no means do I consider these major set backs however, the writers did a fine job in crafting believable characters and a remarkable storyline. The only thing that makes me hurt is that Ashram and Wagnard return. Ummmm... how??? Don't get me wrong both are great villains even though Ashram's only villainous trait is that he supports the Marmo. Perhaps I missed something during the coarse of the series that explained that part. As far as sequels go though, I highly recommend CotHK. I place both CotHK and, even more so, the original Record of Lodoss War far above the Lord of the Rings trilogy. Both of these are more epic than anything I've ever seen or read. I highly recommend this.", "label": 1, "domain": "movie_review", "token_count": 446, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0621", "text": "The film was very outstanding despite the NC-17 rating and disturbing scenes. In reality things like this do happen and that is why this movie shows a lot of it. It all starts with Maya (Rosario Dawson in superb performance) whose recently started attending college has everything going well for her. She meets Jared (Chad Faust in a terrific performance) at a frat party who turns out to be a real gentleman and sweet. He invites her out to dinner. They look at the stars from a bridge and they end going to his apartment. They talk and takes her to the basement were they become flirtatious with each other. She tries to put an end to it, but he rapes her. This incident scars her. She goes to a club meets a bartender/DJ Adrian (greatfully played by Marcus Patrick) who sees that she is getting to drunk and helps before she goes to far. They strike a friendship. He also does drugs and Maya starts using as well. In other words introduces her to a different world. She starts going back to school and working as TA (Teaching Assistant) and spots Jared as one of the students. While the students are taking a Midterm, she catches Jared cheating. Jared tries to smooth talk Maya, but she still has the upper hand decides to invite him to her place. Will history repeat itself? Or Will Maya have a surprise for Jared? You watch the movie. Excellent A. Rosario Dawson portrays the role with focus and endurance. Chad Faust does not like he can be a rapist, but he does a terrific job as Jared. Marcus Patrick is very brilliant the man who saves Maya and coaches her into a new world. This film deserves an award.", "label": 1, "domain": "movie_review", "token_count": 347, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0622", "text": "With all of the films of recent,dealing with the British Monarchy,is it really time for another? Answer:YOU BET! The Young Victoria is another contribution to the wave of cinema from Britain dealing with the Royal family. In this case,it deals with the early life of Princess Victoria,and events leading up to the Coronation of her becoming Queen of all England,as well as her romance & eventual wedding to Prince Albert. The film also deals with the tempestuous lives & careers of both England's Queen & Prince,as well as several other events that transpire (political turmoil,etc.). Emily Blunt plays a radiant Victoria in her youth,while Rupert Friend is her beloved & best friend,Prince Albert. The rest of the cast is rounded out with the likes of Miranda Richardson,as the Dutchess of Kent,and the always welcome on screen,Jim Broadbent as King William,as well as a cast of others that shine on screen. Jean Marc Vallee (C.R.A.Z.Y.,Loser Love),directs from a winning screenplay by Jullian Fellowes (Vanity Fair,Gosford Park,Separate Lies). I absolutely went out of my head over the film's visual look (by cinematographer Hagen Bogdansker),who gave each frame of film a painterly look (with the help of production designer,Patrice Vermette),as well as some tight editing (by Jill Bilcock & Matt Garner). What I also appreciated in Fellowes' script is the use of a game of Chess,as a metaphor for some of the film's political motivation (the characters in the film move about like the pieces on a Chess board). This is smart,well written,directed,filmed,edited & acted entertainment (and enlightenment)that makes for a well spent evening at the cinema. Rated PG by the MPAA for a few scenes of sensuality,some brief violence ( a little bloody,although nothing too gory),a rude outburst of language,and some on screen smoking", "label": 1, "domain": "movie_review", "token_count": 411, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0623", "text": "OK, so Soldier isn't deep and meaningful like Blade Runner or as big budget as Terminator 2 but on the whole I found it quite enjoyable. The fact that Kurt Russell stayed in character not speaking and being virtually emotionless made the moments when his humanity broke through all the more poignant. I found his portrayal of restricted emotional development more touching than Arnie's in the T films (and before I get comments yes I know that Arnie was a cyborg and Kurt was human but the premise put forward by both films was the same). So to the film itself, a reasonable US/Brit cast are able to flesh out this little story. Not really sure if Gary Busey and his two deputies were baddies or goodies, so was unable to decide whether I liked them or not. The colony was a little more realistic neither a misguided bunch of peace loving/gullible/cowardly hicks who get wiped out from the get go nor a group of subversive aggressive terrorists paranoid about offworlders and each other. Kurt Russell is good and unlike other comments I do not feel this will have a negative impact on his career (unlike maybe Escape from LA - sequels are such fickle creatures!). Sean Pertwee has really done his late father proud by continuing the families noble Sci-Fi lineage. And the rest of the cast helped flesh out this pathetic band of people making the most of a bad situation and not doing too badly. If you see this on your TV schedule I would recommend giving it a chance. I don't think you will be disappointed.", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0624", "text": "Although I've long been a fan of Peter Weir, I hadn't watched any of his Australian movies until I watched The Last Wave. And it was a pleasant, unpredictable surprise. Richard Chamberlain plays David, a lawyer invited to defend five aborigines charged with murdering another Aborigine. For David's peers it's a clear case of drunken disorder and they think they should plead guilty and serve a quick sentence. But David believes there's a mystery underneath the murder, linked to tribal rituals. As his investigation proceeds he learns not only things about his clients but about himself too. To reveal more would be to spoil one of the strangest movies I've ever seen. I can only say that this movie goes in directions that no one will be expecting. There are many elements that make this a fascinating movie: Chamberlain's acting, for instance; but also the performances by David Gulpilil, who plays a young aborigine who introduces David into tribal mysteries; and Nandjiwarra Amagula, who plays an old aborigine who's a spiritual guide. The relationships between these three characters make the heart of the movie. But there's also the way Weir suggests the supernatural in the movie. David has dreams that warn him of the future. Australia is undergoing awful weather, with storms, hail falling and even a mysterious black rain that may be nothing more than pollution. But it's also related to the case David is defending. How it's related is one of the great revelations of the movie. Out of little events Weir manages to create an atmosphere of dread and oppression, suggesting future horrors without really showing anything. Charles Wain's score is fantastic, especially the use of the didgeridoo. The photography is also quite good. Russell Boyd, Weir's longtime DP who won an Oscar in 2004 for Master and Commander, depicts a dark, creepy world full of mystery. I also find it remarkable that for a movie centered on aborigines, it doesn't turn into an indictment against white culture or into a sappy celebration of the their traditions, like Dances With Wolves or The Last Samurai. This movie is too clever to be that simplistic. Sometimes it can be frustrating, and it may upset viewers who expect to finish a movie with everything making sense; but for those who don't mind some strangeness or ambiguity, The Last Wave is a great movie to watch.", "label": 1, "domain": "movie_review", "token_count": 490, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0625", "text": "All of the people reviewing this film, and probably many professional film reviewers, just don't get it. This film was made with matting sequences and art techniques quite like the works of the great Czech filmmaker, Karel Zeman. If you want to know what I'm talking about, I suggest you get any of Zeman's films, such as The Fabulous World of Jules Verne, Baron Munchausen, Journey to the Beginning of Time, or On The Comet. If you are unable to locate a film, then read the reviews in AMG. They will explain the processes used. If one were to look at Zeman's work and try to compare it to any of the other sci/fi fantasy films of the time, viewers probably wouldn't have gotten it then either. It is unfair to compare either of these filmmakers' styles to the standard technologies of the day, because both Zemen and Hines \"do not compute\". They have a style that is unique to them and should be judged for their creativity only. If you look at this film from a perspective where you KNOW that he intentionally tried to create a pastiche collage of mattes mixed with live action, you could easily come to the conclusion that he did a masterful job. It isn't easy making a bunch of computer cutouts flow. I thought that the creatures were also quite good, also considering how they were made. Hines took a great gamble, and I think his film will not be fairly judged for years to come. Someone promoting the film should have tipped the audience off as to what they would be seeing, rather than let them blindly go into the theater expecting the usual CG work. Regarding the actors, I think Hines also took a page from Zemen's book, in that many of Zemen's actors were somewhat expressionless at first, but became much more engaging as the film and action went on. It is totally refreshing to me to have this movie in my library. I will watch it for years to come, all three great hours of it.", "label": 1, "domain": "movie_review", "token_count": 416, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0626", "text": "You sit there for a half an hour and watch a story, believing it all, then watch another half an hour of the same story utterly unraveling... and then put back together again. Brilliant. One of the most exciting feature films at the San Francisco International Film Festival is a documentary. I don't know if - other than Andrew Jarecki's \"Capturing the Friedmans\" - there has ever been anything like Anna Broinowski's \"Forbidden Lie$.\" It features, exposes, defends, reveals, and questions everything about Norma Khouri, author of \"Honor Lost,\" the acclaimed and lambasted 2001 bestseller about honor killings in Jordan. What is quite incredible and what makes the film so exceptional is that this \"exposure\" of Khouri is made with Khouri's full participation. For the initial portion of the film, Khouri presents her story about the supposed honor killing of a friend of hers in Amman, the story of the book. She sounds completely believable, convincing. Then her story is taken apart, exposed, by eminently believable and convincing people, such as women's rights activists in Jordan, investigative reporters there and in Australia, where Khouri lived for a while. Khouri comes back and denies the accusations, taking a successful lie-detector test in the process. There comes another segment of devastating exposures - not to be specified here because that would lessen the shock value... and then Khouri comes back and faces the accusations (not all, but the essential ones in the matter of the book). And the Houdini act continues, with round after round in this heavy-weight, seesaw prize fight, surprise after surprise - and there is no \"happy ending\" in the sense of resolution. Brilliant.", "label": 1, "domain": "movie_review", "token_count": 355, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0627", "text": "This is a very memorable spaghetti western. It has a great storyline, interesting characters, and some very good acting, especially from Rosalba Neri. Her role as the evil villainess in this film is truly classic. She steals every scene she is in, and expresses so much with her face and eyes, even when she's not speaking. Her performance is very believable. She manages to be quite mesmerizing without being over the top (not that there's anything wrong with being over the top). Mark Damon is surprisingly good in this movie too. The music score is excellent, and the theme song is the kind that will be playing in your head constantly for days after seeing the movie, whether you want it to or not. There are a couple of parts that are very amusing. I especially like the part where Rosalba Neri undresses in front of the parrot. There's also lots of slick gun-play that's very well done. I would probably have given this movie 8 or 9 stars if it wasn't for two things. The first being a silly bar room brawl that occurs about 25 minutes into the film. This is one of the most ridiculous looking fights I have ever seen in a movie. It is very poorly choreographed, and looks more like a dance number from a bad musical than any kind of a real fight. One might be able to overlook this if it were a Terence Hill/Bud Spencer comedy, but this is a more serious western, and the brawl really needed to be more realistic. The other thing that annoyed me about this movie was Yuma's cowardly Mexican sidekick. I guess he was supposed to be comic relief or something, but the character was just plain stupid and unnecessary in a movie like this, and he wasn't at all funny. All I can say is where is Tuco when you need him? All that having been said, let me assure everyone reading this that Johnny Yuma is a classic spaghetti western despite the faults I have mentioned, and all fans of the genre need to see this movie.", "label": 1, "domain": "movie_review", "token_count": 419, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0628", "text": "A visit by Hitler in Rome is the backdrop of this tender story of love, friendship, homosexuality and fascism. Sophia Loren plays the housewife and mother of six children who stays at home while her entire family go to the military parade in honor of Hitler and Mussolini. She has to stay at home since the family cannot afford a maid. She would have loved to go though as she along with the entire housing complex where she lives is an ardent admirer of Il Duce. There is one exception though. Across the yard sits Marcello Mastroianni on his chair contemplating suicide. The reason? He is homosexual and because of that has recently lost his job as a radio announcer. The film really takes off when these two people meet by chance. Mastroianni is in despair and badly in need of a friend. Loren, frustrated by her own cheating husband misunderstands Mastroianni and in a masterfully shot, directed and acted scene on the roof of the building complex offers her body to him only to be rejected. The initial chock is replaced soon afterwards by her hunger for this man, this anti fascist, this homosexual, this other world who is so willing to give her all that she longs for. This is a beautifully crafted movie with two of the most talented actors ever. Loren proves here that she is an actress of caliber when well directed. This is a simple but yet powerful film about fascism, love, ordinary people and most importantly the human condition. Despite its sad ending there is a glimpse of hope in the denouement, things will change, someone has understood.", "label": 1, "domain": "movie_review", "token_count": 324, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0629", "text": "This \"tragicomedy\" written by famous Serbian theatre/film writer Dusan Kovacevic is probably one of the best movies ever made in the comedy category. And yet, its appearance of a theatre play transformed into a feature film takes nothing of its value. A masterpiece one should not miss to see (preferably with subtitles, and not dubbed). In an aged bus en route to capital Belgrade, a looming war decides the passengers' behaviour. Two Gypsy musicians sing of their miserable life but also foresee a tragedy to come; their singing both divides and connects stages in this extraordinary road movie (real life Kostic brothers are amateur actors, but together with Stanojlo Milinkovic as farmer who's plowed the road give a real-life performance). The spectrum of characters gives a brilliant image of a society facing a war, an insight into nation's collective person: everyone is aware that war is just about to begin but they try to live their own lives the best they can, hoping that ignorance might avert the tragedy. Using a simple movie language, director Slobodan Sijan paints a picture of society torn by previous war (World War I), but also highlights personal portraits with success: provincialism of a singer, inexperience of the newlyweds, seriousness of the Great War veteran who is on way to visit his recently conscripted son, and gloomy predictions from a man who seems to be a German spy. Brilliant in its narration, with memorable soundtrack (especialy the Gispsy songs) and adjusted atmosphere, well photographed and edited, this feature (Sijan's feature debut) was only an introduction into a series of the directors bitter-sweet comedies that will define Serbian cinematography of the 1980s: \"Maratonci trce pocasni krug\", \"Kako sam sistematski unisten od idiota\", and my other director's favourite \"Davitelj protiv davitelja\").", "label": 1, "domain": "movie_review", "token_count": 402, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0630", "text": "Modern viewers know this little film primarily as the model for the remake, \"The Money Pit.\" Older viewers today watch it with wisps of nostalgia: Cary Grant, Myrna Loy, and Melvyn Douglas were all \"superstars\" in an easier, less complicated era. Or was it? Time, of course, has a way of modifying perspectives, and with so many films today verily ulcerating with social and political commentary, there is a natural curiosity to wonder about controversy in older, seemingly less provocative films. In \"Mr. Blandings Builds His Dream House,\" there may, therefore, be more than what audiences were looking for in 1948. There is political commentary, however subtle. Finding a house in the late 40s was a truly exasperating experience, only lightly softened by the coming of Levittowns and the like. Politics in the movie? The Blandings children always seem to be talking about progressive ideas being taught to them in school (which in real life would get teachers accused of communism). In real life, too, Myrna Loy was a housing activist, a Democrat, and a feminist. Melvyn Douglas was no less a Democratic firebrand: he was married to congresswoman Helen Gahagan Douglas, whom young Richard Nixon accused of being soft on communism (and which ruined her). Jason Robards, sr., has a small role in the film, but his political activism was no less noticeable. More importantly, his son, Jason Robards, jr., would be for many years a very active liberal Democrat. Almost the odd fellow out was Cary Grant, whose strident conservatism reflected a majority political sentiment in Hollywood that was already slipping. But this was 1948: Communism was a real perceived threat and the blacklist was just around the corner. It would be another decade before political activism would reappear in mainstream films, and then not so subtly.", "label": 1, "domain": "movie_review", "token_count": 386, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0631", "text": "I remember that the trailer for Legend of Zu was quite impressive and being a fan of A Man Called Hero (my all time favourite), Storm Riders I decided that I must watch this one too. I know that there is way to much critcism on Ekin Cheng's acting ability everywhere but he is my favourite Hong Kong moviestar so far (way better than Nicolas Tse nevertheless)and he is one of the factors that I enjoyed this movie. Without a doubt this film is a work of art from the beginning to the end. I even thought that only the actors were real and everything else was computer generated by the end of this film. They must have put a lot of work into this one and they deserve good credit for that. The storyline of the movie was a fairytale between good and evil with a love story thrown in (I guess Ekin Cheng pulls the girls easily).The story is not very intellectual and deep but that is not what you expect when watcing an action movie. I wished there were more martial arts action with fists and fist instead of battles with magical abilities, but well that's life and it never goes the way you want it to. And why did they sound like supersonic planes in the battle through the sky in the end ? That's way too funny. Legend of Zu cannot be A Man Called Hero in my eyes but it flows like a videogame and that is not a bad thing at all. If a company decides to publish games on this movie I will not get suprised as it carries all the videogames elements. Good work. Please make more fantasy movies like this", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0632", "text": "Without a doubt, Private Lessons II is the greatest movie I have ever seen. A Japanese import (poorly) translated into English, its a joy to watch. Not much of it makes sense, but that doesn't matter. It's the greatest comedy around without ever being intentionally funny. The film is rare and unavailable on video, but I have caught it a couple of time late, late at night on pay cable. My taped copy has been watched dozens and dozens of times as I slowly, person-by-person, introduce this film gem to the world. Joanna Pacula plays the tutor/lover to Ken, our hero. (She apparently was just working for her check.) Ken is played by Goro Inagaki, of the Japanese pop band SMAP, who gives it his all and has great hair through out the movie. Stacy Edwards, of \"In the Company of Men\" fame, shows up in the movie too and is probably happy that she found other film work afterwards. It takes at least three viewings to sorta figure out what the plot is. On repeating viewing you can enjoy elements like the abnormal amount of vases Ken has in his house (at least 50) or that Ken is wearing a shirt with embroidered husks of corn in the movie's finale. The movie is predictable, but highly quotable. My friends and I reenact entire scenes. Yes, it sounds like we're lame losers and we are ... but we're lame losers who have seen \"Private Lessons II.\" Be one of ten people in the world who have seen this movie. You'll thank me for it.", "label": 1, "domain": "movie_review", "token_count": 328, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0633", "text": "This is a splendidly done simplistic film that explores a theme, and gives each viewer something different that they take from it. The premise is simple: an unnamed celebrity actor (Morgan Freeman) decides to research for an upcoming role by visiting a store and watching people. He takes particular interest in the cashier at the \"10 Items or Less\" lane (Paz Vega), who he finds an amiable, strong, and curious presence. Both actors play off each other brilliantly and bring solid dimension to characters in what is a character study. Not a conventional character study; they each represent entire worlds. The cashier's life is mired in a harsh and frustrating \"real world,\" while the actor is so enmeshed in his fantasy existence that he can't do simple tasks like remember phone numbers. He readily admits he's putting on a face when he talks to people, and the whole point of researching real people shows he's not one of them. But not only is the actor inspired by real people for his work; we see the reverse process as well. Several characters recognize \"Him,\" and make reference to how he has inspired them with his movie roles. The cashier's favorite song \"Al Pasar la Barca,\" about how a girl refuses to hide behind beauty and prefers instead to pay (ie: do honest work) for boat passage, couldn't have been chosen better. It parallels with the Vega character, the only store employee with any brains or ambition, who is willing to work hard to succeed. (That's quite an aspiration, for somebody who looks like Paz Vega.) It's an odd little film, probably made on a shoestring. If you don't mind slow pacing and a \"talky\" approach, this film will entertain. The characters are perfectly contrasted, and the effective acting makes them endearing. A nice watch.", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0634", "text": "Hard to imagine this film is based on a true story, and how Christy managed to accomplish the miracle is so heart-stirring. Daniel Day-Lewis is a chameleon, really hard to imagine how much effort he had done to create this disabled character. Watching him on screen is a shocking and breathtaking experience. The movie is not so pessimistic as I thought before, the story is kinda bright and intriguing. Christy is not despised by the normals, his life is also colorful and delightful, although we can be aware of the loneliness and the painful fetter through his eyes. One important factor of Christy's success is his mother's support which seems to be more touching, and the unknown actress Brenda Fricker also deserves her Oscar award for this role, this fat little middle-aged woman uses her all to make Christy's dream come true. So lucky for Christy!And Hugh O'Conor is also excellent as young Christy, what a performance for a child! The love story of Christy is very well-done, trustful. Christy wants love and nothing can derive him of the right to love, his crush on the beautiful Dr. Eileen Cole (surprisingly played by Fiona Shaw, I am deeply impressed with her role in Harry Potter series, the loathsome Aunt Petunia, so her appearance in this role is really beyond my mind, but anyway, any woman has her own youth...) is paranoiac and offensive, I do have sympathy for him, love is a two-edged sword, happiness and agony are just next to each other. Btw, Jim Sheridan's works are all good (IN America, THE BOXER etc.) except GET RICH OR DIE Trying', god knows why he chose to direct that crap! Really a career taint for him, what a pity!", "label": 1, "domain": "movie_review", "token_count": 371, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0635", "text": "The Ogre doesn't seem to have won itself a very good reputation since its release in 1988, and I guess a reason for that may be down to the fact that it was given the subtitle 'Demons 3' in order to help it sell better. Well, the film is directed by Lamberto Bava; the man behind the first two Demons films, and ogres and demons are somewhat alike (in that they're both 'monsters' anyway)...but other than that, this film has no connections to the other two films. It is, however, rather good! Italian filmmakers are famous for ripping off popular films, and while it's not completely obvious; it seems to me that this one has taken a fair bit of influence from Hellraiser. The plot focuses on a female horror writer who moves with her husband and son to a castle in Italy. She is haunted by memories from when she was a child and found an Ogre living in her basement. It's not long after moving into the castle before these visions return...and it may be more than just a coincidence as she comes to believe there's a murderous ogre living in the basement. The film was obviously shot on a budget and it was made for Italian TV, so it would be unrealistic to expect something brilliant; but for what it is, this is certainly a very decent horror film. Lamberto Bava may not have as keen an eye as his father Mario did; but he takes time in building up a foreboding atmosphere that really compliments the film well. The central setting, a large castle, makes the perfect place for a story like this to take place in and Lamberto makes the best of it; even if it does involve ripping off superior films at times; such as the Inferno-style pool scene. The plot itself is not quite as good as the atmosphere as several scenes are drawn out far too long and the relationship between the characters is rather strange (particularly between the husband and wife). There's not a great deal of bloodshed, but Bava does get to do a little bit with the special effects. The ogre itself looks really silly and it's a good job that we don't get to see it very often. We do boil down to a fitting, if highly predictable, ending and overall I have to say that this film is much better than expected and comes recommended.", "label": 1, "domain": "movie_review", "token_count": 482, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0636", "text": "New York, I Love You is a collective work of eleven short films, with each segment running around 10 minutes long. The shorts don't exactly relate but they all have something in common, love. Every short is about finding love, either if it's about a couple or just two strangers chitchatting.The film stars an ensemble cast, among them Shia LaBeouf, Natalie Portman, Hayden Christensen, Orlando Bloom, Chris Cooper, Andy Garcia, Christina Ricci, Irrfan Khan, Robin Wright Penn, Julie Christie, Ethan Hawke, Bradley Cooper, Rachel Bilson, and Anton Yelchin. With such a stellar cast and such an interesting premise, I was expecting a tremendous film; the problem is New York I Love You doesn't add up. It remains the sum of its parts. Some of the segments are funny, original and interesting but others are so meaningless (Orlando Bloom/Christina Ricci and Ethan Hawke/Maggie Q segments) that it's appalling. The film is definitely uneven and has a very experimental tone. Story-wise, it seems like something a few film students could put together. Having said that, the film has some great moments as well, one of the best being the segment about an old couple, played by Eli Wallach and Cloris Leachman, walking along in Brooklyn on their 67th wedding anniversary. And it's moments like this, that made me as a viewer, wish the film was more consistent, because, there's a lot of potential here. But, as unsatisfying as the overall story ends up being, for me, the cinematography and soundtrack saved the all thing. The editing was perfect, the way the film was shot was very impressive and the ethereal soundtrack, couldn't be more fitting. In the end, New York I Love You feels like an experimental film, and as in most experiences there's highs and lows. It's how one looks at the film as a whole that will determine if he enjoys it or not. It might be worthwhile for some and a waste of time for others. 7/10", "label": 1, "domain": "movie_review", "token_count": 430, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0637", "text": "Imagine turning out the lights in your remote farmhouse on a cold night, and then going to bed. There's no need to lock the doors. The only sound is the wind whistling through the trees. Sometime after midnight a car with lights off inches up the driveway. Moments later an intruder beams a flashlight into your darkened living room. What makes this image so scary is the setting: a remote farmhouse ... at night. Based on Truman Capote's best-selling book, and with B&W lighting comparable to the best 1940's noir films, \"In Cold Blood\" presents a terrifying story, especially in that first Act, as the plot takes place largely at night and on rain drenched country roads. It's the stuff of nightmares. But this is no dream. The events really happened, in 1959. Two con men with heads full of delusions kill an entire Kansas family, looking for a stash of cash that doesn't exist. Director Richard Brooks used the actual locations where the real-life events occurred, even the farmhouse ... and its interior! It makes for a memorable, and haunting, film. Both of the lead actors closely resemble the two real-life killers. Robert Blake is more than convincing as Perry Smith, short and stocky with a bum leg, who dreams of finding Cortez' buried treasure. Scott Wilson is almost as good as Dick Hickock, the smooth-talking con artist with an all-American smile. After their killing spree, the duo head to Mexico. Things go awry there, so they come back to the U.S., stealing cars, hitchhiking, and generally being miserable as they roam from place to place. But it's a fool's life, and the two outlaws soon regret their actions. The film's final twenty minutes are mesmerizing, as the rain falls, the rope tightens, and all we hear is the pounding of a beating heart. Even with its somewhat mundane middle Act, \"In Cold Blood\" stages in riveting detail a real-life story that still hypnotizes, nearly half a century later. It's that setting that does it. Do you suppose people in rural Kansas still leave their doors unlocked ... at night?", "label": 1, "domain": "movie_review", "token_count": 445, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0638", "text": "So your bairns are away on a sleep-over ? The wife is visiting the mother in law? You though are at home. It's a dark and stormy night and there is no football on the telly and the dishwasher needs stacking? So now what are you going to do? I will tell you! Go make an old fashioned cocoa (Frys is best!)Get hold of some ginger nuts and sit down in front of the DVD. Now go select and play Arthur Askeys world war two thriller/horror The Ghost Train, return to that comfortable settee and enjoy the night in! The Ghost Train is a genuine British war time classic! Arthur Askey with his side kick,Stinker Murdoch, entertain you and I suspect the cast, to a high octane, thrills and spills, espionage thriller.It's set in old rural England during the second world war. It centres around a motley group of people that need to stay overnight, through circumstances outside any ones' control, in an old railway waiting room that they discover is haunted by an old train. The plot unfolds neatly and precisely and is a credit to the entire cast it is humorous in parts and at times genuinely scary! (The tale was written by that old boy Godfrey of Dads Army fame and it is clever ) Arthur Askey is entertaining and is very at home preforming his routines to you and the cast, he also shows he can act a bit! The cast are never out staged though, even the railway porter and the parrot help give the film the necessary gravitas. Oh and when it ends please remember to stack the dish washer!", "label": 1, "domain": "movie_review", "token_count": 331, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0639", "text": "Our Song is a marvelous example of passionate, movie making at its aesthetic best. It is, in fact, a genuine wonder of a movie; a penetrating and insightful work of art that chronicles the lives of three young inner city (Crown Heights, Brooklyn) girls during a particular summer in their lives when the perplexities of their approaching adulthood will compel each of them to make a number of difficult, life altering choices that will likely re-define who each of them is, as well as how they will continue to relate to one another in years to come. Jim McKay's writing/direction is graceful and uncluttered. There is no sappy, gratuitous sentimentality nor are there cliché ridden solutions in this film. What we see here seems, at times, to be heart breakingly real. There is a naturalism - a credibility, if you will - in Our Song that surpasses that of other giants in this genre, including American Graffiti and Cooley High. Much of the credit for the film's spirit goes to its principle actors. The combined presence of Melisa Martinez (Maria), Kerry Washington (Lanisha), and Anna Simpson (Joycelyn) is dazzlingly powerful. It would be easy - and, of course, blatantly obtuse - to dismiss, as some apparently have, the performances of these three as apathetic or unemotional. In fact, their quiet charm, their instinctive sense of dignity and their raw, sometimes unconventional intelligence, throughout the film, are absolutely riveting. One would have to be completely \"out of touch\" with, or completely indifferent to, the behavior of teenagers to miss the resounding authenticity in what these three young ladies bring to the screen. Likewise, the supporting cast, particularly Marlene Forte as Lanisha's mother, compliments the work of the three girls as well as the overall tone of the film. Our Song is a film not to be missed - by anyone of any age.", "label": 1, "domain": "movie_review", "token_count": 400, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0640", "text": "Sublimity is the way we have to reach for The Beauty. And sublimity is the stuff this film is made of. If not his best, it's my most loved of all Bogdanovich movies. This unique masterpiece remind us, as most of the other films from the director, what life is (or should be) about: love, lost (or failure) and hope and faith and charity. As the song from whom the films takes its title (Gershwin's well known composition) the film makes the impossible true, and tries to make us aware that no-one is able to judge anybody; all this with the lightness of a comedy and the timing of a masterful direction (the first ten minutes, with the detectives following the ladies, almost without a line of dialogue, constructed upon the looks and views of the characters --with that \"Bogdanovich touch\" based on the point-of-view-- is a class on Cinema Language, something that P.B. learned well from his admired directors from the Golden Age of the Movies). With a superb cast and a glorious soundtrack (including the best of Sinatra's \"Trilogy\"), this movie, full of self-consciousness and compassion, and far away from self-indulgence and emptiness (as some critics wrote), deserves a better place on the History of American Cinema than where it have been placed. It's not \"long on style, short on substance\": it is complex in its simplicity, and beautiful, absolutely beautiful.", "label": 1, "domain": "movie_review", "token_count": 303, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0641", "text": "This has been one of my favorite movies for a long time. Recently I was happy to see it on DVD which is a relief from watching the old, grainy VHS versions. I hadn't seen it in years and watched it today to find myself amazed at how well the movie stands up to time. It's one of those rare, perfect storms of comedy where great writing (truly funny line after truly funny line) is paired with great direction and outstanding performances all at the same time. Dudley Moore got an Oscar nomination for \"Arthur\" but lost (although John Gielgud won for best supporting actor). If Moore's performance in \"Arthur\" doesn't win a Best Actor Oscar -it's proof that no comedic actor could ever win the title (another example is Gene Wilder in \"Young Frankenstein\"). Steve Gordon crafts the film beautifully keeping true to each of the characters and the warm-hearted tone of the story. Quite simply, IMHO the movie is a rare gem. It's only sad that Steve Gordon passed away just a year after \"Arthur\" was released. Regarding the DVD that is available as of 1/2007, it's so/so. Although the video quality is a leap over the old VHS copies, there is still no widescreen version available. The DVD has a few extras that are nice but it's just not enough. One example is commentary from the Director stating how he greatly wished how certain deleted takes and scenes could have been included (because they were hysterical), but that he had to make tough choices for a final edit. The DVD, being the perfect format to include such material, certainly should have offered it as well. This, the original \"Arthur\", is a classic comedy that is one for the books.", "label": 1, "domain": "movie_review", "token_count": 358, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0642", "text": "The problem with portraying a real life individual is that the performance can be good, but still not work if the audience doesn't believe that the actor is portraying the person. That's the main issue with \"Young Mr. Lincoln:\" Henry Fonda gives a terrific performance, but I found it hard to believe that Abraham Lincoln was as soft-spoken as Fonda portrays him. This is essentially a courtroom drama with a young Abraham Licoln at the forefront. Whether or not this was a true story, I don't know, but if it isn't, then why tell it using Lincoln as the central character? Never mind though. In the film, Lincoln is defending two young men who are accused of murder. There's really not much to the film, and as a result, it seems rather empty. I wanted more story and character development. The film is 100 minutes long, but it doesn't feel like it. There are some little scenes featuring Lincoln and the blooming relationship with Mary Todd, but they seem superficial. The acting is good all around, but as I said, Fonda's performance works as a character, but not Abraham Lincoln. I just don't believe that the real Lincoln was that soft-spoken. True, he has a big voice when he needs to, such as when he persuades a drunken lynch mob to let the accused stand trial, but Fonda portrays Lincoln too meekly. The other performances are solid though, especially Alice Brady as Abigail Clay, the mother of the accused. She's a nice lady who we can really feel for. Simple and uneducated, yet very sweet; we can see why Lincoln wanted to help her. John Ford seems to think of this film as an epic, and at the time of its release, it probably was. But even then, there's just not enough material to present it as such. It's a nice watch, but not a classic.", "label": 1, "domain": "movie_review", "token_count": 391, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0643", "text": "I love this show. Period. I haven't been watching very long, probably only about six months or so, actually, but it is now my favorite show and probably will be for quite a while. I love all of the characters, except I don't really care for Donna. I'm not completely sure why. I just..don't find her funny, and I don't think Laura Prepon is a very good actress. Other than her, I find the rest of the cast pretty good. Kurtwood Smith and Debra Joe Rupp, who played Erics parents, were extremely funny. Topher Grace is also a great actor. Unlike a lot of fans, I did not completely hate the 8th season. I still watch it, and it does make me laugh. But, if you compare it to the shows earlier seasons, its..not good. Randy is horrible. The finale was decent, nothing amazing, but good. =] I do think it would have been better to cancel the show after Ashton and Topher decided to leave, but oh well. I have the fourth season on DVD, and someday I hope to have all eight seasons on DVD. Some of its most hilarious episodes, in my opinion, were 'Dine&Dash', 'Grandmas Dead', 'Red&Stacey', and 'Streaking', but I love every episode I've seen so far, which is most of them, I think. =] 9/10 stars, I would definitely recommend it. =]", "label": 1, "domain": "movie_review", "token_count": 309, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0644", "text": "Simply the best Estonian film that I have ever seen, although it is made by a Finnish director Ilkka Järvi-Laturi. Tallin Pimeduses is an entertaining thriller about a bunch of gangsters who are trying to steal a huge amount of gold, a national treasure that belongs to the republic of Estonia. But at the same time it is some kind of a summary of the conditions of many Eastern European countries at that time. In the early 90s Soviet Union fell into pieces and many countries, such as Estonia, became independent. Now the conditions may be better in most of those countries. But in the beginning of the 90s many of those new nations had to fight against corruption and organized crime that the Soviet era had left them as inheritance. (And many of them still do...at least on some level...) Tallinn Pimeduses is a very realistic film of that era with believable characters and with a well-written script. The actors are also very good, especially Jüri Järvet (perhaps the best known Estonian actor, plays Snaut in Tarkovski's Solaris), playing and old gangster who's slowly becoming tired of his way of life. But the most astonishing performance comes from Monika Mäger, a child-actor playing Terje, a boyish girl in her early teens, whose presence in the plot is quite essential. (and her name is not even mentioned in the IMDb-credit list!!!)w There are not many films in the world that manage to be entertainment and artistic at the same time. But Tallinn Pimeduses does that. Unfortenately Järvi-Laturi's other films are far from this kind of achievements. His first one, Kotia päin was too artificial and his latest, History is Made at Night was just a weird mess.", "label": 1, "domain": "movie_review", "token_count": 378, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0645", "text": "Directed and co-written by Eytan Fox the writer/director of the highly acclaimed 2002 mini feature \"Yossi & Jagger\" (2002). This comparative epic, at 1hr 53 minutes, is another fine romantic drama in which we must deal with tragedy as well as celebrate the beauty and joy in life. Westerners, especially urban gay men like myself, need to be moved outside our safety zone and be informed of the real life and death struggle elsewhere to be able to love with equity. While \"Yossi & Jagger\" focused on a pair of gay lovers in the closeted confines of Israeli military service, \"Ha Buah\" is centred on a group of civilian friends, both straight and gay, who share a unit in the heart of Israel's generally gay-tolerant, but not always gay-friendly, capital Tel Aviv. \"Ha Buah\" opens with a dramatic border check point scene in which Noam (Ohad Knoller – Yossi from \"Yossi & Jagger\") first meets handsome young Arab Ashraf (Yousef Sweid). Romance soon blooms – but in that political climate opportunities would have to be seized quickly or lost altogether. From there we follow an intricate interplay among the members and lovers of the housemates and the unavoidable effect of Ashraf's very conservative family. If you follow this film's dialogue attentively enough then you will have no reason to be disappointed with the ending. The soundtrack for \"Ha Buah\" is vibrant and the visuals are both beautiful and stark – i.e. real life in the Middle East. The English subtitles are very easy to follow and you quickly relax and appreciate world cinema at its best.", "label": 1, "domain": "movie_review", "token_count": 351, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0646", "text": "As one other IMDB reviewer has remarked, this movie starts a bit slow, but gets considerably better as it goes along. Yes, it is released by Roger Corman, and yes, it goes over some of the same thematic ground as much higher budget predecessors such as FATAL ATTRACTION and POISON IVY. However, the juxtapositioning of the wife's career as a rising blues singer against the husband's gathering loneliness and his almost Freudian need for filling the emotional and physical \"void\" or \"hole\" while she's away along with the clever use of minimal effects and settings is nicely done. Utilizing a very small number of locations and characters, and also using water in almost every scene both as a cleansing and drowning metaphorical symbol throughout, this movie, though clearly suffering from a minuscule budget, reminds me in many ways of the more fully realized and more recent scenario, namely the French film \"SWIMMING POOL\" which it seems to me at least may have borrowed liberally some useful ideas from \"UP AGAINST AMANDA.\" With a smaller tool set, UP AGAINST AMANDA maintains its suspense with a rudimentary, fatalistic view of surrendering to ones occasional lustful temptations, but accomplishes this as well or better as other films in this genre. The twist of the stepfather abuse of Amanda in the past (again, very Freudian) is also very unique in this genre and interesting. I agree with other viewers about the unexpected and sympathetic reaction for Amanda's plight this aspect of the story elicits. The cast is excellent I think.", "label": 1, "domain": "movie_review", "token_count": 325, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0647", "text": "Abhay Deol's second film, written by Imtiaz Ali, maiden directorial effort by Shivam Nair. Soha probably has her first (?) meaty role as Megha, a girl who has run away from home and is waiting at the Delhi marriage registrar's office for her boyfriend Dheeraj (Shayan Munshi) to meet her. She waits and waits and finally is spotted as a damsel in distress by Ankush (Abhay Deol). They spend many days together as he extricates her from one distressing situation after another and finally falls in love with her. Then the boyfriend returns! Aage pardey par dekhiye! Sound familiar? This is yet another adaptation of Dostoyevsky's White Nights with a tiny bit of borrowing from Le Notti Bianchi (very tiny though - Ankush keeps the lovers apart by telling the boyfriend she is dead!). But this is an earthier and more realistic (duh) adaptation than the much hyped and overblown Saawariya. I wonder why no one brought this little gem up when we were all discussing Saawariya like crazy a few months ago. The Delhi settings are wonderful - there is the obligatory run through old Delhi, shots of Jama Masjid from a roof top, Connaught Circus, streets with rickshaws (What? How?). The colorful light fixtures in the hotel are enough to tell you this is a seedy joint with rooms for hire by the hour! The more I see of Abhay the more I like this young man. In this second film he is quite good as the for hire witness who is given a purpose in life by a beautiful woman. Soha looks beautiful, and when she smiles she fits the role, but I found her unconvincing in the more serious moments. I am not quite sure that she has it in her to be a great actress, or maybe she will blossom late like the brother. The music by Himesh Reshammiya is not that great and in fact the movie falters at the songs, they kind of interrupt the narrative and do not sit well with the characters trying to sing them. The supporting cast is excellent and I give this White Nights adaptation a thumbs up. BTW - the fact that I love Abhay Deol's cute dimples has NOTHING to do with my rating.", "label": 1, "domain": "movie_review", "token_count": 485, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0648", "text": "The movie starts out with a bunch of Dead Men Walking peeps sitting in individual cells, waiting for their inevitable meeting with death represented by the electrical chair. Then our \"hero\", who is called Tenshu, is taken to the chair, he's zapped, and then....he's still \"Alive\". AHA ! He is given a choice by some creepy military guys who look really cool : Either we zap you until we've made sure you're actually dead OR you can walk through this door and take whatever destiny might lie ahead of you\". Our hero says yes to option 2, and then the actual story commences. He wakes up in a different sort of cell (very high-tech and very big), where he finds another cell-mate, who also managed to survive the electric boogie-ride. A voice in the speakers tells them that they are free to do whatever they wish, as long as it happens within that room. Sounds a little suspicious, but the two men accept : What else can they do ? What these two men do not know is that they have been set together, so they can awaken an inner urge to kill within them. Basically the unknown scientists in the background p**s them off until they decide that they should kill each other. Sounds weird ? Indeed, but there's a greater purpose to all of this. THIS is the part which should not be revealed, and so it shall remain unrevealed. But fear not, it is the unknown that lures the viewer to watch more of this pseudo-action movie, fore it has an entirely different approach to the question : How long time can you stand being with a man who's an S.O.B. and would you kill him to obtain freedom ? The first hour is basically trying to awaken your interest, it sneaks up without you actually knowing it. Then it becomes a roller coaster ride with WILD Matrix-like action fight-scenes with a touch of individuality to honor the comic book from which the movie is based upon. The movie is indeed very special, so special that normal cinemas won't view it under normal circumstances. However, the story is fascinating, the music is fantastic, and the actors do their bit (some more than others) to make the movie truly unique. If you should be so fortunate that your cinema or video store has it, watch it, and enjoy the fact that not everyone is trying to make mainstream movies to earn huge bunches of cash.", "label": 1, "domain": "movie_review", "token_count": 496, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0649", "text": "Now, I have seen a lot of movies in my day, but out of every single one there have been a very select few that have been really good to me. And I'm a 19 year old man which is impressed by this movie directed towards a younger audience. This is a very underrated gem for those who watch foreign movies. Almost all the acting is believable, the graphics are decent (for which you won't even be caring about as you watch the movie. Trust me, bitching about the graphics would be a stupid thing to do), the story is well written and it's a movie that everyone can enjoy not just the kids. Here's basically what this movie made me to. It one, made me laugh...a lot, two, made me feel for the characters like you're suppose to, and three, it's a very uplifting story. By the end of this movie you will feel good. Sure, what anime out there hasn't featured some young kid turning into a great warrior and whatever to defeat some great evil. It's a formula that is used a lot. But, in this case it is forgivable because even though they use puppets for some characters and some average graphics you'd see 5 years ago, the appearance of it is not to be judged. It's very touching, the ending is original, and it keeps you into the movie like it is suppose to. If you however try comparing this to other movies like \"The Never-ending Story\" or whatever it will diverse your opinion. Watch it as it is and you will enjoy it. It has been a good long while since I've been impressed like this. The only other movie where I have gotten this feeling is when I saw TMNT way back when it came out. There is something about this movie I felt about TMNT that really made me love it. So don't over-analyze or take this movie too seriously, just enjoy it.", "label": 1, "domain": "movie_review", "token_count": 392, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0650", "text": "Not many movies were made about the Lighter-Than-Air (LTA) aspect of aviation, but this is one of them and it's damn good. Just a fun film to watch. Most of the movie takes place at the Navy blimp operations at NAS Lakehurst (with NAS Tustin playing the role). Wallace Beery plays a likable but Munchausen-like Senior Chief Ned Trumpet, an enlisted pilot, whose tall tales have gotten so frequent nobody really believes him. Half the fun is near the end of the movie when events start proving that most of his more outlandish tales are actually true. Set during WWII, the main plot centers around bachelor Trumpet wooing a local widow only to end up having a father-son relationship with the widow's crippled son, Jess. Told he would never walk without crutches by doctors, Chief Trumpet pulls some strings and a Navy flight surgeon helps in restoring the lad's crippled leg. Jess goes on to join the Navy to become a flight officer, flying blimps back at Lakehurst and facing a whole new set of challenges. A very well-done movie, albeit not without some corny Hollywood dialogue slipping past the technical advisers, and Beery's apparent inability to march in step. Otherwise this movie gets good grades for technical accuracy, and gives a rare look into the Navy's LTA operations. The Cash Register Scene, an exchange between Trumpet and Jess's future love interest Cathy, is an absolute hoot.", "label": 1, "domain": "movie_review", "token_count": 302, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0651", "text": "I am so upset that ABC is giving up on yet another show that has the chance to be a real winner. This show is so good, the writing and storyline were great, an actual original idea for a show instead of another boring reality show. The casting was spectacular! Not only were the characters and actors right on, but these are a very talented set of actors. The concept and idea is really a new and cool idea for a TV show, many of us share this whole idea of \"connections\". I really love the characters of Steven, Laura, Whitney and Damien. But to be honest there is not one person connected to this show that I did not like, even those that only were in for a few episodes (Sheri Appleby for example). The acting and characters are so easy to like and so talented!!. I wish ABC had given this show more of a chance, and not interrupted the show midway, Also it was not advertised enough. Truly unfair!! to everyone!!. This show showed great promise. I for one will let ABC know how I feel and will keep sending emails to keep this show alive. Please join me, I know we can do it. It worked for Jerico. (By the way where is episode 13? I want that last show!). Please support this show and send emails to ABC,we can do it!!! This show is well worth it!!! PETITION ONLINE TO SAVE SIX DEGREES: http://www.PetitionOnline.com/gh1215/petition.html WE CAN DO IT!! SIGN THIS PETITION ASAP!!!", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0652", "text": "It takes a Serbian or at least a Balkan familiarity to understand and enjoy many of the situations, characters and jokes of 'Zavet' as well as of many other films of Kusturica. See for example the opening scenes, with the remote village in the Serbian mountains, with the low-tech devices that defend the integrity and way of life of the inhabitants, the nostalgia for the good days of the Communist rule, and the awakening of the young brat watching his nude teacher at the sounds of the Soviet hymn. Kusturica not only tries to depart from the tragic history of Serbia described in his previous movies, but creates a whole world of himself in the process. This is not a political film or not an explicit political film in any case. It's a fun film before all. Kusturica creates a set of characters that we care about. Music plays an active role in this film same as in all his other movies. His style is direct and grotesque, we now what he feels about his characters and we know that he wants us to feel the same. The space he develops melds present, history and magic, and the colours seem to be of a Douanier Rousseau of modern cinema. This is not a perfect film either. The principal flaw is the length, some editing and shortening would have been useful, as at some point in time the director seems to have run out of ideas and repetitions show up. It is yet one of the most catching, amusing, moving films that I have seen lately.", "label": 1, "domain": "movie_review", "token_count": 313, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0653", "text": "I'm not quite sure if the term \"serious comedy\" applies to this movie, Im not even sure if this can be applied. On the last few years movie theaters have become filled with comedy movies which are way too stupid to even make us grin. Therefore, I considered the movies which do not fill these requirements as \"serious comedies\". Does The 40 Year Old Virgin fit into this guild? That is finally up to you, but in my opinion, this is a very funny movie. You get to laugh a lot, plus it delivers a social commentary through some really great characters and situations. I'm pretty there is more than one 40 year old virgin out there, and even the people whom do not exactly fit this specifications, may feel identified by one of the characters in the movie, especially men. The story, as the title says it, is about Andy, a shy, silent guy, whom collects action figures, watches Survivor with his octogenarian neighbors and whose favorite band is Asia. Kal is Andy's co-worker at SmartTech. He believes Andy to be a psychopath until Andy's secret is revealed. Kal is clearly a sexual pervert but yet he seems to get what he wants with the opposite genre. David is the passionate guy who is still in love with his ex-girlfriend, whom ran away with another guy. And Jay, a man in a relationship which seems to be affected by his continuous cheating and getting caught acts. I'm pretty sure most youngsters from 13 to 21 have already watched this film, but it really does not have an age limit to be able to enjoy it. So in case you haven't seen it and will enjoy a little laugh, with social commentary, than go to your video store and rest from those deep and depressing independent films. It also includes DVD bonuses which you'll really see from top to bottom.", "label": 1, "domain": "movie_review", "token_count": 378, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0654", "text": "If the Lion King was a Disney version of Hamlet, then the Lion King 3: Hakuna Matata is a Disney version of Guildenstern and Rosencrantz are Dead. Just like Tom Stoppard's beguiling film, we get to view the action from the point of view of two of the minor characters from the original: Timon, the meerkat with a penchant for breaking into song at the drop of a hat, and Pumbaa, the warthog with flatulence issues. By following their story - rather than Simba's - we get to see why all the animals bowed down as Simba was presented from Pride Rock. We find out what made Timon and Pumbaa decide to follow Simba back to Pride Rock to oust Scar. And we find out how they dealt with the hyena's once and for all. Nathan Lane as Timon gets most of the best jokes, but he is ably supported by Ernie Sabella as Pumbaa. It is also good to hear Matthew Broderick and Whoopi Goldberg reprising their roles. Julie Kavner and Jerry Stiller lend their distinctive voices to two new characters: Timon's mother and uncle. The only downside is the constant stop-start-rewind-fast-forward device which doesn't always help to progress the story. Having said that, there is a brilliant zoom near the beginning of the movie. With more laughs than any other third-in-a-Disney-series movie, Hakuna Matata is worth watching - if only for the hot tub scene which is still funny despite being a little bit predictable.", "label": 1, "domain": "movie_review", "token_count": 331, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0655", "text": "If you liked Roman Polanski's \"Repulsion\", you should probably check out \"The Tenant\" since it's a similar concept, just with Polanski stepping in and playing the schizophrenic wacko. This is actually one of my favorites of his movies - second, after \"Rosemary's Baby\", of course - and is a straight forward journey into the mental collapse of a man who moves into the former apartment of a suicide victim. The other residents of the building are all flaky and sticklers on keeping the noise level down - even the slightest 'titter' becomes a big deal and Polanski, who stars, becomes increasingly paranoid and succumbs to his loony hallucinations further and further as the film carries on. It gets to the point where he is dressing and acting like the former tenant and you realize it's only a matter of time before he decides tor re-enact her fatal leap out the window... The film is a bit slow and dawdling for a while, but if you have ever seen a Roman Polanski movie, you should know it's going to end with a bang and this flick doesn't disappoint. It's also best if you don't question the intricacies of the premise and just take it as a descent into madness, because it's pretty trippy surreal at times. Polanski is very good as the timid, deranged resident who, somehow, attracts the ever illustrious Isabelle Adjani. We also get to see him running around in drag, which is disturbing and hilarious all at the same time! Damn, he makes for one ugly chick! So, Polanski fans - who can actually look past his thirty year-old pedophile charges - should enjoy \"The Tenant\" as an entertaining psychological head-trip...", "label": 1, "domain": "movie_review", "token_count": 362, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0656", "text": "I don't watch a lot of TV, except for The Office, Weeds, Entourage and E!'s Soup. I think I hold this show in good company. I love the scathing review of pop culture that this show gives. Soup also helps me stay on top of what people in the office are referring to when talking about a Sanjaya or Heidi Montag (sp?). The best part is that Soup shows clips of the highlights of these shows, which are usually the funniest or most controversial moments (c'mon, most people get hooked into watching American Idol because of the freak show that are the auditions), which is why most people claim to watch. And that means, I don't have to suffer through the other 98% of these mind numbing talk shows or \"reality\" shows, for one nugget of \"funny\" or \"shock.\" The only reason why Soup doesn't get a 10 in my opinion are sometime the sketches are not that funny, and on an even rarer occasion, the commentary isn't always up to par. But they can't all be home runs either, if so, Soup wouldn't be on E!. Joel's quick wit and Soup's writing team (which includes McHale) make for a great show. I happen to enjoy the laughing and comments from the crew who are off-camera. Even when they're being blatantly obvious by giving occasional courtesy laughs, it's hilarious because it IS forced. They're obviously being ironic. And that's part of what makes this show funny.", "label": 1, "domain": "movie_review", "token_count": 317, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0657", "text": "Lars von Trier's Europa is a worthy echo of The Third Man, about an American coming to post-World War II Europe and finds himself entangled in a dangerous mystery. Jean-Marc Barr plays Leopold Kessler, a German-American who refused to join the US Army during the war, arrives in Frankfurt as soon as the war is over to work with his uncle as a sleeping car conductor on the Zentropa Railway. What he doesn't know is the war is still secretly going on with an underground terrorist group called the Werewolves who target American allies. Leopold is strongly against taking any sides, but is drawn in and seduced by Katharina Hartmann (Barbara Sukowa), the femme fatale daughter of the owner of the railway company. Her father was a Nazi sympathizer, but is pardoned by the American Colonel Harris (Eddie Considine) because he can help get the German transportation system up and running again. The colonel soon enlists, or forces, Leopold to be a spy (without giving him a choice or chance to think about it) to see if the Werewolves might carry out attacks on the trains. Soon, Leopold is stuck in an adventure by being involved with both sides of the conflict in a mysterious and film noir-ish way, where everyone and everything is not what it seems. Its amazing to watch the naive Leopold deal with everything (his lover, the terrorists, the colonel, annoying passengers, his disgruntled uncle, even the railway company's officials who come to examine his work ethic) before he finally boils over and humorously and violently takes control. The film is endlessly unpredictable. The film stylishly shot, it always takes place at night during the winter with lots of falling snow. Its shot in black and white with shots of color randomly appearing throughout. Also, background screens displaying images that counter act with the images up front. Add Max von Sydow's hypnotic narration, and Europa becomes a dreamlike place that's out of this world. This is now a personal favorite film of mine.", "label": 1, "domain": "movie_review", "token_count": 430, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0658", "text": "A small pleasure in life is walking down the old movies aisle at the rental store, and picking stuff just because I haven't seen it. A large pleasure is occasionally taking that movie home and finding a small treasure like this playing on my screen. Long before Elia Kazan turned himself into a brand cranking out only notable movies (not good ones), he made this better than average drama. Watching it you begin to notice how many decent, good or nicely observed scenes have accumulated. Contrast that with his later films where the drama is writ large... preferably large, and unsubtle, and scandalous. Kazan was eventually more of a calculating promoter than a director. (um. No thanks) His future excesses are hinted at here only in the plot. The plague is coming! But here's an atypical Richard Widmark playing a family man in 1951 and avoiding most of the excesses of that trope; here's an almost watchable Barabra bel Geddes, with her bathos turned way down (well, for her); they're a couple and they share some nicely-written scenes about big crises and smaller ones. Here's an expertly directed comic interrogation with a chatty ships-crew; here's a beautiful moment as a chase begins at an angular warehouse and a flock of birds shoots overhead punctuating the moment. These are the small-scale successes a movie can offer in which a viewer can actually recognize life; something Hollywood, in its greed, now studiously avoids. These are the moments that make me go to the movies and enjoy them. It's a personable, human-scaled film, not the grotesque, overscaled production that he and others (David Lean) will later popularize, whose legacy is still felt in crap as varied as Pirates of the Caribean and Moulin Rouge. I just watched it twice and I'll be damned if I could tell you what Jack Palance is seeking in the final scenes, but it doesn't seem that important to me as a viewer. This reminds me of both No Way Out a Poitier noir with Widmark as the villain, and Naked City, which you should really get your hands on.", "label": 1, "domain": "movie_review", "token_count": 441, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0659", "text": "Okay, there are a ton of reviews here, what can I possibly add? I will try anyway. The reason this is my favorite Scrooge is because of EVERYthing. The sets, outdoor locations, costumes are so beautiful and authentic. The music is sweet. The supporting cast is very well done. One of my favorites is the narrator & nephew, played by Roger Rees. His understated sincerity is touching and his voice is the sound of Christmas to me. David Warner is also a totally believable Bob Cratchit. His is a difficult life, but he remains positive and dignified. The best part of course- is George C. Scott as Ebenezer Scrooge. Some have said his portrayal too gruff. I couldn't disagree more. His exchanges at the beginning while cold or harsh, weren't out of character. He is a terribly disillusioned man who's heart has been hardened by the vicissitudes of life and his own lust for wealth. During the flashbacks, it's obvious that he isn't all gruff. This is where we see that there is hope for him. If he was totally gone, his partner Marley would never have come for his sake in the first place. And after all, we are none of us past hoping. I think that is a HUGE part of what Dickens was trying to say. When Scrooge looks in on his dance at his employer's with Belle, you see him smile regretfully as he tells Belle in the flashback that he will go through life \"with a grin on my face.\" Clive Donner was smart enough as the director to allow these moments on film. Sometimes they get left on the editing room floor. And finally, his conversion is so absolutely full of joy that it makes me cry tears of joy EVERY time I see it. His apology to his nephew Fred, so sincere, so moving, it is the spirit not only of Christmas, but of humanity itself. The joy he brings to Fred, to his wife are so apparent. And the line that gets me every time, \"God forgive me for the time I've wasted.\" Bravi tutti!", "label": 1, "domain": "movie_review", "token_count": 435, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0660", "text": "A fierce, shockingly intelligent piece of work from the gifted British writer Hanif Kureishi who wrote \"My Beautiful Laundrette\", (this is the best thing he's done since then). It's about intelligent people whose lives don't add up to much. They've squandered what they have been given and are largely empty vessels. The only character on screen who is alive is the mother of the title yet she feels dead inside until a rough handyman shows her some affection and awakens her to the joys of sex. He has his own motives but Kureishi treats him with a good deal of compassion. This is a film in which people and places feel familiar, where characters exist beyond the confines of the screen. In some respects it's a bit like \"Sunday, Bloody Sunday\" but it's an altogether tougher piece of work. The director, Roger Michell, allows scenes to build instinctively. And it is beautifully acted. As the eponymous mother Anne Reid betrays her wasted life in every gesture. There is not a false note in her extraordinarily lived-in performance, and that very fine actor Daniel Craig displays shadings to his character than even Kureishi hasn't tapped into. If the film strikes a false note it is, perhaps, in the character of the talentless daughter, caught up in a messy affair with the man her mother seduces (or should that be the other way round) and even messier life, but she is so well played by Cathryn Bradshaw she hooks you in nevertheless. The film is also extremely beautiful to look at (DoP Alwin Kuchler) and must rank, unhesitatingly, as the best British film of the year.", "label": 1, "domain": "movie_review", "token_count": 349, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0661", "text": "Man's Castle is set in one of those jerry built settlements on vacant land and parks that during these times were called 'Hoovervilles' named after our unfortunate 31st president who got stuck with The Great Depression occurring in his administration. The proposition of this film is that a man's home is still his castle even when it's just a shack in a Hooverville. Spencer Tracy has such a shack and truth be told this guy even in good times would not be working all that much. But in a part very typical for Tracy before he was cast as a priest in San Francisco, the start of a slew of classic roles, he's playing a tough good natured mug who takes in Loretta Young. One of the things about Man's Castle is that it shows the effects of the Depression on women as well as men. Women had some additional strains put on them, if men had trouble finding work, women had it twice as hard. And they were sexually harassed and some resorted to prostitution just for a square meal. Spence takes Loretta Young in who's facing those kind of problems and makes no demands on her in his castle. Pretty soon though they're in love, though Tracy is not the kind to settle down. The love scenes had some extra zing to them because Tracy and Young were having a torrid affair during the shooting of Man's Castle. And both were Catholic and married and in those days that was an insuperable barrier to marriage. Both Tracy and Young took the Catholic faith quite seriously. Also in the cast are Walter Connolly as a kind of father figure for the whole camp, Marjorie Rambeau who's been through all the pitfalls Young might encounter and tries to steer her clear and Arthur Hohl, a really loathsome creep who has his eye on Young as well. Hohl brings the plot of Man's Castle to its climax through his scheming. Man's Castle is grim look at the Great Depression, not the usual movie escapist fare for those trying to avoid that kind of reality in their entertainment.", "label": 1, "domain": "movie_review", "token_count": 421, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0662", "text": "And yet another run of South Park comes to an end. This wasn't as strong an episode as I'd hoped for, but Night of the Living Homeless was a stronger finisher then Stanley's Cup, Tsst, Bloody Mary, or Erection Day. It still can't hold a candle to Woodland Critter Christmas and Goobacks, but few episodes can. Night of the Living Homeless is a spoof of the zombie genre, done in a way only South Park would think of. Instead of flesh eating zombies, the entities are homeless that request change and seem to survive off of it. Randy and other residents are locked in the Community Center, though this time on the roof, where they can survey the scene. A particularly funny moment is when one member finds out his home is gone, and becomes homeless, leaving Randy no choice but to shoot him. Meanwhile, the four boys set out to solve the problem, with the whole story behind the homeless takeover trying to convey a message, but being seriously uninspired. South Park is at it's best a lot of the times when it is being ridiculous. Matt and Trey played it safe this week, and didn't really critique the homeless problem, just lampooned it. The shock moment of the episode comes when a scientist shoots himself in an attempt to avoid the homeless. This is the first time a suicide on South Park goes wrong, and we watch the poor man miss his brain and then attempt to shoot himself many times while he painfully dies. Another inspired South Park moment. Overall, the episode was funny, but it was kept from being great by withholding any real commentary on the homeless and sticking straight with the zombie shtick. The ending is somewhat funny, but nothing new. Now we must wait until October for the next batch of episodes. It's a long haul, but South Park must be applauded for it's run. The show seemed to be running out of steam last season, but now it's back in full form.", "label": 1, "domain": "movie_review", "token_count": 403, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0663", "text": "Wilson (Erica Gavin) is nabbed by the cops and sent to prison in this slick and amusing example of prime 70's exploitation, marking the directing debut of Jonathan Demme. After writing and producing a few of mentor Roger Cormans' New World films, Demme was afforded the opportunity to direct for the first time, and he delivers a movie that not only delivers the expected and tasty doses of nudity and violence, but has an appealing tongue-in-cheek quality to it as well; it's often as funny as it is flashy. Standout scenes include a lewd and crude vaudeville style act performed for the prisoners, as well as a potent dream / fantasy sequence for uptight and obviously very repressed Superintendent McQueen (horror icon Barbara Steele, doing a marvelous turn in this antagonistic role). I also enjoyed a bank robbery scene gone haywire and a carjacking scene that was simply uproarious. As in other movies of this kind, it's also commendable that it's as much a portrait of female empowerment as it is pure exploitation. These women are tough, they take no garbage from anybody, and they're more than capable of handling themselves. Our attractive cast here makes the most of their roles: Juanita Brown as the aggressive Maggie, Roberta Collins as the sassy Belle, Rainbeaux Smith as the cute and timid Lavelle, Gavin as the wide-eyed newcomer, and Lynda Gold (a.k.a. Crystin Sinclaire) in a bright appearance as an accomplice on the outside. As our climax plays out, Demme comes up with a tense \"beat the clock\" finish as our heroines race to save Belle from being lobotomized by predatory Dr. Randolph (Warren Miller), the type of man who thinks nothing of taking advantage of women. Bouncing along to John Cales' flavorful score, \"Caged Heat\" is upbeat entertainment and a guaranteed good time. 8/10", "label": 1, "domain": "movie_review", "token_count": 400, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0664", "text": "Anyone who finds this film boring is a hopeless bonehead who should stick to car chase movies and romantic comedies. This film is riveting and doesn't have a boring moment. Why? Because it is comprised largely of intelligent dialogue between real people in a moment of crisis and details their efforts to survive that crisis. I repeat--intelligent dialogue! That is what characterizes nearly all of Rohmer's films, and that is why a lot of people don't like them. They prefer action. Fine, let them spend the rest of their lives watching action films, while those of us with taste and discrimination will continue to seek out films like this. Rohmer has always been accused of being \"talky.\" Well, he is, but to me that's a compliment, not a criticism. Shakespeare was talky, too. Is there a talkier play than \"Hamlet?\" Whenever the subject, or theme, of a work of art consists of ideas and conflicts over values, there must of necessity be a discussion of these ideas and values, an that is largely what this film is all about. Aristocracy and noble birth vs. egalitarianism; loyalty to old friends that is put to the ultimate test when that friend takes what we believe to be a wrong path; the value of human life and the responsibility to help save that life, even if the person possessing that life is not so nice, or even despicable. (Anyone ever hear of Dostoyevsky, or \"Crime and Punishment?\") These are what this film is all about. The two leads in this film are impeccable, as if they were born to play these roles. Lucy Russell, who is English and speaks French as her second language, is especially brilliant. Do yourself a favor and see this riveting film. It may be the last film by this screen Master.", "label": 1, "domain": "movie_review", "token_count": 374, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0665", "text": "Reading some of the comments on the message boards here I was expecting this movie to be a complete letdown - but when I watched it I could not stop laughing! It has officially become my new favourite movie. I don't know what all the hate here is about, maybe it's because a movie of this kind has never really been around before. I am at a loss to name another completely female driven comedy. Plenty of comedies will have one or two actresses in the lead, but there will be a lot of supporting male characters. This one was almost ALL women - with the exception of Seth Meyers, Justin Hartley and the brief appearance of Will Arnett - and it worked. All of the actresses delivered very funny performances (especially Missi Pyle) from a quirky and lovable script. The charm of this film, to me, seems to be in its subtle feminist message: accepting who you are, female success in the public sphere, the strength of female friendships and breaking gender roles. Light-hearted though it is, each of the lead characters face a challenge as their attempts to be more 'fun' conflict with their feminist values and who they knew themselves to be. Missi Pyle proposed that this film missed a theatrical release because of its all-female cast and lack of a big-name actor to get the studios behind it, and I have to agree. Everyone I've recommended this film to has loved it and I think it's a shame that a comedy celebrating female dorkiness hasn't been widely accepted and successful. I highly recommend this film to anyone with an open mind or a love of female-centred comedy.", "label": 1, "domain": "movie_review", "token_count": 330, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0666", "text": "*********Ten out of Ten Stars********* It's hard to believe this was a made for television movie. Just the phrase, \"made of TV\", makes me shudder. The production values for made for TV movies are almost always remarkably lower than production values for professional movie studios. That being said, this version of the \"Christmas Carol\" should have been released in theaters, because it IS that good. It's my personal favorite of all the \"Christmas Carol\" movies because every aspect of this production are of the highest quality. Yes, there are some minor on screen glitches with two of the ghosts that visit Scrooge, but there isn't a movie in existence that doesn't have at least a couple of mistakes. Scott turns in a stellar performance as Scrooge, he's a pleasure to watch. In fact, I can't think of one performance in this film that shouldn't be applauded. The costuming, location shooting, and winter backdrop are mesmerizing. The musical score is endearing and heart warming. Add to that, solid directing, flawless cinematography, and faithful scripting; we have here what will one day be considered a holiday classic. It really hasn't been around long enough to be a classic, but mark my words, one day soon it will be. This film has turned into a yearly Christmas tradition in my home because it embodies the true meaning behind Christmas: Love, selflessness, and giving. In as selfish, greedy world, my family and I can lose ourselves in \"The Christmas Carol\", starring George C. Scott.", "label": 1, "domain": "movie_review", "token_count": 315, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0667", "text": "This film is a great fun. I recommend you watch it yourself and then watch it again with your friends. I did last night and it was fascinating how well Norma Khouri could pull everybody into her world! I did feel a little bit strange watching my friends go through the same roller coaster as I did the first time. But they all thanked me and loved the movie. You know it is a great film if you spend 2 hours after the film talking about the movie! I once saw a con man almost up toNorma Khouri's level, but no where near the same size ring. He fooledtons of very gullible and rich folks at my old Berkeley CA A.A. group where everyone trusts everyone else. He would \"sponsor\" only people who seemed very well to do. Who knew he would have stolen in excess of 100k(in 1987 when that was real money) after being in town for only 1 month. His victims were very fragile as they were in their first month or week of being sober. He was evil with a great laugh and a great smile on his face. The above crime is nothing compared to what Norma Khouri did to her old neighbor. But I don't want to give anything away. I just found this one night on a late night movie channel,\"Showtim\" I think. This is always a movie fans greatest experience to be totally tricked into seeing something and having your mind blown. Just drag your friends over to see this and don't tell them a thing. It is a very entertaining film, it moves quickly and never bores you. This should be a international classic for all time. I believe all great movies eventually rise to the top. Time will be very good to this film. I am just sorry no one has heard of it yet,in some ways that makes the surprises even better. The director and editor were fantastic. They deserved winning the best documentary. JUST WATCH THIS FILM!", "label": 1, "domain": "movie_review", "token_count": 399, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0668", "text": "\"The College Girl Murders\" is my first acquaintance with the writing work of Edgar Wallace – and generally my first real acquaintance with \"Krimi\" films in general – and I can say that I'm moderately impressed. This stuff is really entertaining, although I never would have expected it to be so goofy! The film has an exhilarating and nicely convoluted plot, with a healthy dose of humor, flamboyant twists and pretty inventive killings. There's some James Bond type of evil mastermind – who always sits in the shadow and in front of a large monitor - recruiting prisoners to kill certain girls at a specific college with a new type of poison. There's also a villainous monk with a whip, dressed like a communist KKK member, getting rid of the leftover characters, like overly curious teachers and such, as well as a kooky police commissioner who persists on solving the case with a psychological approach. Seriously, if I had known sooner that these Krimi films were so colorful and crazy, I would have purchased a whole collection of them already. The pretzel plot actually raises more questions than it answers in the end, and the overload of comical gimmicks on the account of Scotland Yard Inspector Higgins are sometimes a bit much to swallow, but I don't care because it was sublime entertainment. Even the funky 60's soundtrack remained stuck in my head for a long time. It's like a variant on the Italian Giallo, but with slapstick elements.", "label": 1, "domain": "movie_review", "token_count": 303, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0669", "text": "\"Who Done It?\" contains many surefire laughs and gags. It is not only one of the best Stooges films with Shemp, it is one of the finest short comedies Columbia produced. Director Bernds originally wrote the screenplay in 1946 for the Stooges, but when Curly Howard suffered a career-ending stroke, it was tailored for the Columbia comedy team of Schilling and Lane (their version was released as \"Pardon My Terror.\") It obviously was too good for the Stooges to pass up, and it was finally filmed by the Stooges at the end of 1947. Old Man Goodrich calls ace detectives Shemp, Larry, and Moe out of fear that he will be murdered. When they arrive at his home, Goodrich has disappeared, and his niece and assorted goons try to get rid of the Stooges. Will they find Goodrich and bring the niece and goons to justice? Shemp is particularly funny in this film. His reactions after being given a mickey by Christine McIntyre are superb; he gives his trademark sound (eeeb-eeeb-eeeb) and Miss McIntyre is noticeably trying not to laugh! Other funny scenes: the close-up of Moe's mug looking through the camera lens; and the in-the-dark fight with all cast members involved. Nikko the goon (played by Duke York) is one of the most unusual looking characters ever portrayed in a Stooges film. With his kinked hair, he could almost pass for a Stooge, if he didn't tower over everyone else! \"Who Done It?\" is a gem among the Stooges films with Shemp. Even die-hard Curly fans will enjoy this one! A true Stooge classic. 9 out of 10.", "label": 1, "domain": "movie_review", "token_count": 370, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0670", "text": "... and the series lets you forget all that. I am about three years older than the kids portrayed in the series. Born in 1958, I learned to drive during the first gas shortage, and got my first post-college graduation job during the second gas shortage in 1979. The 70's were a truly dreadful time to be young - inflation, competing for after-school minimum-wage jobs with laid-off thirty-somethings, dreadful music, worse clothes. The funny thing is, this series doesn't ignore any of that and still manages to make the 70's look fun, even for those of us old enough to know better. It manages to look the 70's directly in the face - complete with time-authentic clothing - and yet fill the show with the hopefulness of youth and the things that make the high school and college years both the best of times and the worst of times. Then there are the parents. The two young lovers in the show - Eric Forman and Donna Pinciotti - truly have dreadful parents with the best of intentions. Eric's parents, Red and Kitty, are not exactly June and Ward although they are conventional for the decade. They represent what happened when the 60's finally reached the suburbs during the 1970's. Donna's parents are two people who have been waiting for the 1960's to show up their whole lives in order to give their weirdness legitimacy. Eric's friends Fez, Kelso, and Jackie round out the group representing nerdiness, well-meaning incompetence, and snobbishness respectively. Hyde is an unusual teenager for a show about the suburbs, but he largely represents someone who has to play the cards he was dealt even when those cards are dealt by largely absentee and negligent parents. I highly recommend all eight seasons even though season eight does lag a bit due to the absence of Eric.", "label": 1, "domain": "movie_review", "token_count": 382, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0671", "text": "Corean cinema can be quite surprising for an occidental audience, because of the multiplicity of the tones and genres you can find in the same movie. In a Coreen drama such as this \"Secret Sunshine\", you'll also find some comical parts, thriller scenes and romantic times. \"There's not only tragedy in life, there's also tragic-comedy\" says at one point of the movie the character interpreted by Song Kang-ho, summing up the mixture of the picture. But don't get me wrong, this heterogeneity of the genres the movie deals with, adds veracity to the experience this rich movie offers to its spectators. That doesn't mean that it lacks unity : on the contrary, it's rare to see such a dense and profound portrait of a woman in pain. Shin-ae, who's in quest for a quiet life with her son in the native town of her late husband, really gives, by all the different faces of suffering she's going through, unity to this movie. It's realistic part is erased by the psychological descriptions of all the phases the poor mother is going through. Denial, lost, anger, faith, pert of reality : the movie fallows all the steps the character crosses, and looks like a psychological catalog of all the suffering phases a woman can experience. The only thing is to accept what may look like a conceptual experience (the woman wears the mask of tragedy, the man represents the comical interludes) and to let the artifices of the movie touch you. I must say that some parts of the movie really did move me (especialy in the beginning), particularly those concerning the unability of Chang Joan to truly help the one he loves, but also that the accumulation of suffering emotionally tired me towards the end. Nevertheless, some cinematographic ideas are really breathtaking and surprising (the scene where a body is discovered in a large shot is for instance amazing). This kind of scenes makes \"Secret Sunshine\" the melo equivalent of \"The Host\" for horror movies or \"Memories of murder\" for thrillers. These movies are indeed surprising, most original, aesthetically incredible, and manage to give another dimension to the genres they deal with. The only thing that \"Secret Sunshine\" forgets, as \"The host\" forgot to be scary, is to make its audience cry : bad point for a melodrama, but good point for a good film.", "label": 1, "domain": "movie_review", "token_count": 493, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0672", "text": "Call me stupid, but I absolutely loved the 2001 horror movie, Valentine. It was so well-made, well-written, well-acted, well-directed, etc! Everything about it was wonderful! There were parts that were relatively routine (Lily's death), very funny (www.Bleed-Me-Dry.com), completely horrifying and creepy (Paige's death), and just plain heartbreaking (the first scene). I think the entire cast did a great job, especially the three leads: David Boreanaz, Denise Richards (both of whom I met, and got autographs from, during the filming of this movie - VERY nice people!), and Marley Shelton. I am very sick of people calling this movie \"another Scream clone\". This movie is, in no way, a Scream clone. In fact, this film runs rings around Scream. It actually makes SENSE! Scream was also NOT the only movie to feature a masked killer in it. Excuse me, but it looks like Scream was also a clone too (ahem..., Friday the 13th, Halloween, and many other scary movies also featured masked killers). I also think that the novelty of the cupid-masked killer is brilliant. It's so strange to see a sweet, cupid face doing all of these horrible things. Another novelty (the nose bleeding) makes way for a fantastic ending! The ending gives me chills every time I see it!!!!! So, even if you didn't like it the first time, watch Valentine again and give it another chance! PS- Keep an eye out for my new website (WWW.LOVE-HURTS.ORG)! Coming soon...", "label": 1, "domain": "movie_review", "token_count": 340, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0673", "text": "This was my second time watching the film (via the French-language version as opposed to the first, which was dubbed in Italian) and I feel that it improves on subsequent viewings. A compelling if slowly built-up character study that's beautifully shot and with the Parisian settings being equally impressive. In the long run, it's not top-grade Polanski and I would rank it at number 9 in his filmography but it's still a confident mix of subtle chills and, surprisingly, often broad comedy. It also features a fine cast, all of whom are in good form, but especially Isabelle Adjani, Melvyn Douglas and Jo Van Fleet. Even so, I'm a bit baffled by the sudden compulsion for Trelkovsky to 'change' into the previous tenant; apart from the owner of the café opposite the apartment building, where he is given whatever Simone used to have without asking him if he wished any different, there is little to indicate (as far as I could discern, anyway) that this is what everybody wanted of him! Okay, so he found Simone's belongings still lying in the apartment but what exactly drove him to wear her dresses and make himself up as her (even if he apparently started doing this unconsciously)? Following his nightmarish visions in the bathroom, the last section of the film (where Adjani all but disappears) is almost anti-climactic - especially the scene where the landlord and the other tenants witness his attempted suicide as if it were a night at the Opera, a concept which had already been used 46 years earlier by Jean Cocteau in THE BLOOD OF A POET (1930)! The ending, then, is at once predictable and unresolved: just what made the two occupants of this particular apartment jump out of the window?!; I remember this factor bugging me on first viewing as well, and I'm sorry to say it's no clearer now! Mind you, the film's first two-thirds are pretty solid but I wish that Polanski had been less reliant on obscure plot points throughout.", "label": 1, "domain": "movie_review", "token_count": 423, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0674", "text": "The third and last film of this trilogy is finally crystal clear. It is a political film more than a plain entertainment. Jason Bourne will finally know who he was and he will discover and remember the tortures he was submitted to in order to kill his old identity: he really killed some one who became his corpse. But the film is finally revealing that all this had been organized and planned by the CIA within a Blackfriars program that is also clearly revealed in this film as aiming at eliminating all American citizens who tried to prevent the control of the whole society by an established and limited group of people. Who was one essential officer of the CIA up to 1980, when he became vice president? That goes along with what is being said on the Internet. Then the truth will come thanks to Jason Bourne himself but the main person who will be able to bring that truth to the public and the only authority that can take a decision concerning the CIA is a woman and that woman gets the Senate involved in a general investigation. A woman and the Senate; read my lips. In the USA politics are fought in the media and two media are essential for any presidential campaign: it is music and the cinema. Right now Hollywood and beyond the intelligentsia, academia and intellectuals are using the cinema in general, and this film in particular, to build up the idea in the public that salvation will come from a woman and from the Senate. So go and watch the film. It is pretty entertaining and it has the sweet fragrance of the end of a period and of the great change some are expecting and others are waiting for, but no one is able to pretend it won't come: the only point is to know how deep and serious it will be. Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines", "label": 1, "domain": "movie_review", "token_count": 385, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0675", "text": "I was never a big fan of horror movies. They usually try cheap tricks to scare their audiences like loud noises and creepy children. They usually lack originality and contain overacting galore. The only horror movie i like was Stir of Echoes with Kevin Bacon. It was well-acted, and had a great story. But it has been joined and maybe even surpassed by Stanley Kubrick's The Shining, quite possibly the scariest movie ever. The movie follows a writer (Jack Nicholson) and his family who agree to watch over a hotel while it is closed for the winter. There were rumors of the place being haunted and the last resident went crazy and murdered his family. But Jack is convinced it will be OK and he can use the quiet to overcome his writer's block. After months of solitude and silence however, Jack becomes a grumpy and later violent. Is it cabin fever or is there something in the hotel that is driving him mad? One of the creepiest parts about the movie is the feeling of isolation that Kubrick makes. The hotel is very silent, and the rooms are huge, yet always empty. It is also eerily calm when Jack's son is riding his bike through the barren hallways. Jack Nicholson's performance is also one of his very best, scaring the hell out of me and making me sure to get out once in awhile. My favorite scene is when he is talking to a ghost from inside a walk-in refrigerator. The Shining is tops for horror movies in my opinion, beating the snot out of crap like the Ring and The Blair Witch Project. It may be a oldie, but is definitely a goodie. 8/10", "label": 1, "domain": "movie_review", "token_count": 342, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0676", "text": "This is the kind of movie England can do in its sleep, and that's meaning it as a compliment. Because of the success of very British comedies of manners situated at the end or beginning of the Twentieth Century, most notably adaptations of E. M. Forster novels, this very Merchant-Ivory like production was received in the light it brought when it was released in 1992. It was an exceptional year for actress Miranda Richardson, having appeared as the wife of Jeremy Irons who discovers her husband has been having an affair in the worst possible way in DAMAGE, and as the IRA terrorist who eventually dons a wig and gets a nasty comeuppance in THE CRYING GAME. Here, she plays a quiet, serene type of woman in Rose Arbuthnot, one who with Josie Lawrence who plays Lottie Wilkins, embarks on a trip that is filled with self-discovery. They are joined by an unlikely pair of ladies: one Caroline Dester, played by the enigmatic Polly Walker who resembles a very vamp Louise Brooks (and not just in the style of hair she wears), and Mrs. Fisher (Joan Plowright). This foursome will eventually merge together into becoming deep friends only because the story is so filled with spring and an overwhelming, dreamy sweetness it almost preordains it, but this is fine; it's the movie it wants to be. Alfred Molina and Jim Broadbent (then relatively new to American audiences) fill out the cast as the husbands of the two main characters, and all in all, Mike Newell makes with his movie a living thing of near-magical elements, full of quiet moments and wonder.", "label": 1, "domain": "movie_review", "token_count": 343, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0677", "text": "This movie is good for what it is, and unpretentious; I wouldn't watch it twice, however: I am a Peter Cushing completist and that's why I watched it. The best asset of this movie is: BREVITY and EFFECTIVENESS. Compared to other similar movies, it does NOT drag its feet forever as each of the four (plus one) segments lasts under 30 minutes, with the last under 10. Good uncanny vibes. In the first segment, horror writer suffering from 'writer's block' relocates to secluded old house seeking inspiration. He finds even too much of it when he starts to visualize one of his fictional madmen. Plot contrivance similar to PREMATURE BURIAL. Good use of the point-of-view twist: is the writer getting mentally ill...or (as the ending shows) his trophy wife wants her lover to play along with the husband's phobias to drive him mad & secure his estates...yet will the scheming bimbo survive to enjoy the fruit of her ingenious plan? In the second segment two long time lost friends get together in the same secluded old house but cannot seem to help visiting a bizarre horror museum featuring the wax statue of the long lost love of their youth, which had once separated them. From the Gothic museum keeper they learn the woman portrayed is a deceased ax wielding murderer...or was she? The third segment was the less interesting to me. The fourth shows a horror movies actor -who thinks he's the best of all- sunken to the depths of low budget C movies. Seeking a costume to lend more credibility to his fictional vampire, he gets the real deal. This segment also lacks the solidity of the first two. Acting is fair, with the 2 initial segments contributing the bulk of it. Good movie, taken with a grain of salt. Not the best Cushing, nor Lee...but worth watching.", "label": 1, "domain": "movie_review", "token_count": 390, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0678", "text": "With films like \"Wallace & Gromit\" and \"Chicken Run\" under their belt, the good people from the other side of the pond, Aardman Animation, are now introducing us to a bit of their twisted humor in the form of \"Creature Comforts\". Derived from a short done early in their careers, \"Creature Comforts\" is a slice-of-life show where snippets of conversation are removed from their context and given to an animal of some sort. Aardman Animation went across the country interviewing people with innocuous questions such as, \"Are you a liar?\" and then speed things up a bit asking about their sex lives. The answers, while seeming to be boring and mundane, are actually quite funny, when you understand the dialogs come first and the animals are added later. How many of these animals look like the person making the statements? One of the characters discussing what he looks for in a woman, \"I like them kind of thin.\" is an insect, the Walking Stick. There are two dogs discussing odors and smells, while sniffing the behind of a poodle, as they talk about the different smells of a woman. There are two birds in a cage. As the \"wife\" tells the litany that is her health, her long suffering husband stands by her, saying nothing. While it might take some time for \"Creature Comforts\" to find it's \"legs\", it should find a place on television for those who are tired of the ordinary. While there are more reality shows than Carter has liver pills, \"Creature Comforts\" is one of a kind and definitely worth watching. Some of the humor might seem a little racy, it's the claymation that catches the attention of the children (like the old Batman series of the 60's, the jokes are subtle enough the kids won't get them) and it's the jokes that are there for the adults.", "label": 1, "domain": "movie_review", "token_count": 389, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0679", "text": "Most complaints I've heard of this film really come down to one thing: It isn't Versus. Yes, the cast and crew is basically the same. Yes, Kitamura rehashes a few shots in the fight scenes that come in the film's second half, but that's about where the similarities end. Versus takes place essentially all outside, showcasing Kitamura's ability to craft an interesting B-movie in natural locations. For Alive, almost everything takes place inside. In small, cramped spaces. Here the art design is thrust into your face, and WHAT art design it is! We are treated to several very intricate and interesting spaces, and our characters are for the most part confined to those spaces. Also a key difference is that we don't get much action here until the end of the film. Versus was all about action and cool, here a LOT more emphasis is put on characters and situation and messing with your mind. Because of this, Alive is a far more interesting film than Versus. You may not pop it in and go to a random scene to watch five or ten minutes of cool zombie bloodshed, but you will sit glued to the screen for nearly two hours watching he interaction of a few genuinely interesting characters. I'm now ecstatic that I ordered the DVD despite some naysay. You should too! But be sure to realize this is a different animal from Versus - it's often slow, and requires a bit of thought to get the most out of it. I hope Media Blasters picks it up for subtitled R1 DVD release!", "label": 1, "domain": "movie_review", "token_count": 319, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0680", "text": "The film opens with Bill Coles (Melvyn Douglas) telling a story about how his best friend--make that client--Jim Blandings (Cary Grant) and his family are tightly packed into a small New York apartment, with not enough closet space and way too few bathrooms. When Jim's wife, Muriel (Myrna Loy), wants to renovate the apartment, advertising exec Jim falls in love with (or falls for!) an ad for a house. Once he's purchased the house, bills and frustration pile up incessantly as everything that can go wrong with the building of Jim's 'dream house' goes wrong. One of three collaborations between Grant and Loy, this is a charming little comedy--not very taxing, with no real great message, but a great way to spend an hour or two. The laughs are there right from the start, when the alarm clock goes off and Jim tries to shut it off, only to be thwarted at every turn by Muriel. The timing and delivery of the comedic lines and situations can only be given by a couple of seasoned pros, and that's just what Grant and Loy give us: polished performances, simple chemistry, and a lot of fun. Myrna Loy is in a pretty thankless role (it's evident that Grant's character Jim gets the lion share of the lines and the acting, and Grant, as always, pulls both off with remarkable aplomb), but she gives Muriel a colour, life and bite that only Myrna Loy can give a character. Melvyn Douglas plays wry amusement to perfection as well, never hitting a single wrong note. One of my favourite scenes has definitely got to be when Bill gets himself locked in the 'store room', and Jim goes to 'save' him... only to get everyone trapped inside! Every little problem that pops up for the Blandings renovation project--including petty jealousy and an ad campaign for 'Wham'--seems to bring together everything that *could* go wrong with building a new house but makes it believable and an enjoyable watch. 8/10", "label": 1, "domain": "movie_review", "token_count": 427, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0681", "text": "Those who only remember the late Sir Peter Ustinov as Hercule Poirot or a professional raconteur would do well to seek out this charming piece of late '60s satire. Ustinov stars as a convicted embezzler (we first see him during his last day in gaol where he is preparing the prison governor's tax return) who, sensing that the future is in computers, poses (by means of a deft piece of identity theft) as a computer expert and sets out to infiltrate an American multinational. Ustinov (who co-wrote the script) is on top form, as is the delightful Maggie Smith, here unusually cast as an accident-prone cockney-sparrow dolly bird. Bob Newhart also puts in an amusing performance as a suspicious executive who has designs on Maggie Smith. In addition, Karl Malden is satisfyingly sleazy as Ustinov and Newhart's womanising boss. What do I particularly like about this film? Not only is it a well-thought-out 'caper movie' but it's also a touching little love story; Ustinov and Smith are very convincing as the two misfits stumbling into love (the whole scene involving the deck of cards is particularly effective.) So, what is there not to like? Well, the script is no more computer-literate than most films (that is, hardly at all) even though it captures the feel of late '60s 'big iron' business computing quite well. Also there are a couple of small plot glitches that you're not likely to notice until the second or third viewing, but I consider these to be minor niggles. As I said, this is a film which is well worth seeking out, and after you've seen it once you'll want to see it again at regular intervals.", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0682", "text": "Despite the feelings of most \"Star Wars\" fans, in my opinion \"Return Of The Jedi\" is the greatest cinematic film ever created. Ever since the first time I saw it, it's depth, intensity, special effects, and moving story have overwhelmed me. The film was so well put together that it has been able to stand the test of time over the last 20 years. Filled with powerful action, as the climax of the original trilogy, George Lucas gives us a rousing finish of the \"Star Wars\" saga in \"Jedi\". Film Summary (Contains Spoilers For Those Who Have Not Seen It) After \"The Empire Strikes Back\" left us hanging for 3 long years we finally find the end of the story in \"Return Of The Jedi\". Darth Vader, in emotional turmoil makes a surprise visit to a new uncompleted Death Star to oversee it's construction. The Emperor is first seen in this film as he has the ultimate plan to destroy the Rebel Alliance and bring young Luke Skywalker to the Dark Side. Luke, Lando, Leia, Chewie, and the droids all travel to Tatooine to rescue the frozen Han Solo from the crime Lord; Jabba The Hutt. After Han has been rescued, and Jabba defeated, Luke returns to Dagobah to find a dying Yoda where he learns the awful truth; Darth Vader is in fact his father. The rebel heroes regroup with the Rebel Fleet. Now joined by other species and races including the Mon Calamari the Rebels must make a all-or-nothing plan of attack to destroy the Death Star before it is completed. While Lando heads the space attack in the Millennium Falcon, the Rebel heroes must disable the Death Star's shield generator on the Forest Moon Of Endor. It is here that the Rebels happen upon the furry, but mighty Ewoks. During the the two part intense battle, a third battle must take place as Luke willingly delivers himself to Vader in an attempt to convince him to leave the Dark Side. In emotionally charged sequences Luke must face his father as the Emperor lures out his dark emotions. As young Skywalker is about to face his death at the hands of Palpatine, Vader turns on his wicked master to save his son's life. Filled with a deep timeless story of good vs. evil, \"Return Of The Jedi\" is a spectacular, emotionally charged film that redeems the good in all of us.", "label": 1, "domain": "movie_review", "token_count": 494, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0683", "text": "Personal taste rules when it comes to talking about movies such as this treasured little gem. Way back in the eighties, the early eighties, i discovered this movie, like so many released at the time, \"Night Patrol\" \"Bad Manners\" or even \"King Frat\" the artwork and blurbs on the back of the covers tempted and teased you. Of course being of an age, movies like that i have already mentioned as well as stuff like \"Screwballs\" and the many others, captured the imagination, and thankfully many years later i still remember some with fondness and some with disdain the many movies that help maintain my love of such genre as parodies or pastiches. Made many years after the huge success of \"Animal House\" and having seen how it had fared down through the years, I now know that there would be no way this movie would ever eclipse the box office bucks obtain aforementioned nor would it linger in the memory, much like that of National Lampoon's Vacation. To be honest, not everything that has carried the National Lampoon Logo has been a wild success, however to me Class Reunion remains one of my all time favourite movies, with instantly recognisable characters, such as the aloof Bob Spinnaker played to perfection by Gerrit Graham, so good in Charles Band's \"Terrorvision\" still lingering in the past glories of his youth. Or how about Stephen Furst's brash and ballsy turn as the high school lazy drunken sex crazed bum Hubert Downs. Sweet as. Which makes me ponder. As i already said, personal taste not withstanding. People can be so cruel, so it will never win any awards or be compared to the like of its's peers within the comedy world. It does have some merit. Being one of the earlier scripts penned by John Hughes, who would later go on to do one of my own favourites of his work \"Weird Science\" as well as having a wonderful theme title sung by the great Gary U.S Bonds. What more can i say, it's a movie just waiting to be rediscovered, time and time again.", "label": 1, "domain": "movie_review", "token_count": 436, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0684", "text": "I saw this movie today and I have to say, it was much much better than I expected it to be about couple of hours before going to see it. Personally I had some prejudice due to the language of it, but it did totally change my idea. The movie was in most cases surprisingly good with the great actor and actress performances. It was a story about a boy who had a dream and who did everything to reach it. This really touched me and as a film, which is based on a true story, it convinced me. A new school, psycho headmaster and a young boy who get known with a new teacher, a bit different one than the others and about fighting for the things even if they doesn't seem to work out. It showed how little things can make huge changes in many things, and how difference can sometimes cause difficult situations. Also I think the actor selections has succeeded perfectly. It really felt like you had been some person watching the episodes as an outsider when they happened. Before I spoil this movie with praises, I have to admit that there were some things and situations that didn't look and feel realistic..like the one where the headmaster of the school beat Frits aka. Martin in front of the class, at the end of the movie. He really got beaten badly, but the only thing that it caused to him, was some blood coming from the nose when comparing that to the first beating in the beginning, when Frits got some stitches..well I guess every movie has it own faults..have to say, that if I someday somewhere find this DVD from the store, it's sure thing, that I take it with me.", "label": 1, "domain": "movie_review", "token_count": 338, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0685", "text": "An occasionally surrealistic thriller that will push most people's buttons., the 4th Man is sure to offend anyone with a taste for the politically correct. The story's protagonist is a bisexual alcoholic Catholic writer, Gerard (Krabbe), with a seriously twisted sense of imagination. Verhoeven offers up Gerard has an example of everything wrong with the modern man. He's shiftless, delusional, unable to control his urges, afraid to commit to meaningful relationships, and utterly apathetic about life in general. As the character himself states at one point, he is a professional liar, unable to recall the truth. The movie opens with Gerard dreaming of spiders consuming Christ, and then waking to begin the long march to his own destruction. He chases off one man (a boyfriend presumably), then chases another at a train station. Later, at a lecture, he meets a woman who seems to want to help him, or perhaps she has more nefarious plans.. She quickly captures Gerard in her web, enticing him with sex and money, having plenty of both. She's also got secrets, like three dead husbands. Is she lonely, and genuinely looking for someone to nurture - or is she a deadly black widow, luring Gerard to his death? Will Garard be the 4th man she kills? The woman is Christine (Soutendijk), and Verhoeven does his best to keep you guessing what she's up to. This is an interesting movie, with a lot of sex and intrigue. It's similar to Verhoeven's<em>Basic instinct</em>, but has a lot more depth, and is certainly more shocking. There's a lot of very strong gay content, which may make some viewers squirm. Highly recommended for fans of intelligent psychological thrillers, or anyone looking for something entirely new.", "label": 1, "domain": "movie_review", "token_count": 373, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0686", "text": "This is certainly one of my all time fav episodes of Trek. There is just so much going on in this one film that its crazy cool. First the guys beam down to an alien planet thats about to explode. They meet a freaky librarian type dude (very well played). Then Kirk manages to get himself transported back to what is very much like 16th century earth. McCoy and Spock try to follow but instead nearly freeze to death on the frozen version of the alien world 100,000 years in the past. Kirk manages to get himself locked up and charged with witchcraft while Spock enjoys some amok time with a sexy cavegirl who was vanquished to the this frozen, awful world by some bad guy. Spock decides hes happy where hes at and gives McCoy a royal assestment whuppin' when the doc suggests they need to look for a way out. Anyhow,they all finally escape, leaving the poor cavegirl behind. It takes a ton of convincing before Spock finally gives in and leaves. You can literally taste the sadness at the end. Leaving the cavegirl all alone in her frozen wasteland just seems cruel and is really touching. Spock must have been out of his vulkin' mind to leave behind his greatest hope for love and being human. Albeit, in a not so nice neighborhood! Anyway, you just get so much bang for your buck with this episode....A love story, the Salem witch trials, Spock as a human, the desperation of being left in total isolation...abandoned, and three entirely different settings on the alien planet. Its amazing they managed to jam all this into one fifty minute film. This one is a classic, don't miss it....I want it on DVD fer shure vulcans!!!!!!", "label": 1, "domain": "movie_review", "token_count": 365, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0687", "text": "No-nonsense Inspector Hollaway (a solid turn by John Bennett) investigates the disappearance of a famous thespian and uncovers the wicked past history of a creepy old house. First and most mundane tale, \"Method for Murder\" - Successful author Charles Hillyer (nicely played by Denholm Elliott) is haunted by images of the murderous fiend he's writing about in his latest book. Although this particular outing is too obvious and predictable to be anything special, it does nonetheless build to a real dilly of a genuine surprise ending. Second and most poignant anecdote, \"Waxworks\" - Lonely Philip Grayson (the always outstanding Peter Cushing) and his equally lonesome friend Neville Rogers (the splendid Joss Ackland) both become infatuated with the beguiling wax statue of a beautiful, but lethal murderess. Third and most chilling vignette, \"Sweets to the Sweet\" - Quiet, reserved and secretive widower John Reid (a typically terrific Christopher Lee in a rare semi-sympathetic role) hires nanny Ann Norton (the fine Nyree Dawn Porter) to take care of his seemingly cute and harmless daughter Jane (a remarkably spooky and unnerving performance by the adorable Chloe Franks). This stand-out scary episode is given a substantial disturbing boost by the exceptional acting from gifted child actress Franks, who projects a truly unsettling sense of serene evil lurking just underneath a deceptively sweet and innocent angelic veneer. Fourth and most amusing yarn, \"The Cloak\" - Pompous horror movie star Paul Henderson (delightfully essayed to the haughty hilt by Jon Pertwee) purchases a mysterious cloak that causes him to transform into a vampire whenever he wears it. This item makes for good silly fun and further benefits from the awesomely pulchritudinous presence of the luscious Ingrid Pitt as enticing vampiress Carla. Director Peter Duffell, working from a deliciously macabre and witty script by noted horror scribe Robert Bloch, maintains a snappy pace throughout and does an ace job of creating a suitably eerie atmosphere. Kudos are also in order for Ray Parslow's crisp cinematography and the shuddery score by Michael Dress. Highly recommended to fans of omnibus fright fare.", "label": 1, "domain": "movie_review", "token_count": 469, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0688", "text": "This film is a jolt of punk rock fun, from start to finish. The Ramones, reigning princes of late-70s Punk rock, appear as themselves. PJ Soles stars as Riff Randle, the rebellious high school girl who lives and breathes rock 'n roll. Riff is obsessed with writing songs for the Ramones, her favorite rock band. She keeps the school rockin', and encourages her fellow-students to join her in her jubilant antics. Meanwhile the school that Riff attends, has just hired a brand-new Principal, named Ms. Togar. She's a tall, intimidating Amazon of a woman. And she vows to make the students 'toe-the-line'. She even has a couple of the students act as monitors, who report back to her with dirt on their classmates. Ms. Togar is especially determined to nab Riff, and put a stop to Riff's anarchic shenanigans. But Riff has clever ways to foil Togar, at every turn. Kudos to the superb performance of Mary Woronov, in her role as Principal Togar. Mary is a legendary B movie actress. And in this film, she plays the fascist Ms. Togar, with sneering relish. PJ Soles as Riff, turns in an electrifying performance. Clint Howard as the duplicitous Eaglebauer, has lots of fun with his role. The Ramones perform many of their hit songs in this film. And so the viewer sees why the Ramones were so influential, in the 70s Punk rock scene. Certainly, this is a good film for Ramones fans. But even if you're not into the Ramones, or Punk rock, this movie is a terrific blast (literally) of energetic fun.", "label": 1, "domain": "movie_review", "token_count": 372, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0689", "text": "The main problem of the first \"Vampires\" movie is that none of the characters were sympathetic. Carpenter learned from his mistake and this time used a likable vampire hunter and a charismatic vampire. The female vampire Una certainly is the coolest vampire since Blade's Deacon Frost. Unfortunately while there are some good concepts like a cool slow motion restaurant scene (why didn't Carpenter use more of this??) this movie is nowhere near as good as it could have been. I expected to see strong vampires in action and at least one longer lasting nicely choreographed fight sequence (for example inside a city) and was left somewhat disappointed. While \"Los Muertos\" proceeds at a faster pace than its predecessor, it still drags a little in some parts (though nowhere near as bad as \"Vampires\" did). Much like \"Vampires\" however this movie's climax near the end is not very intense. Most of the above may sound like \"Los Muertos\" is a bad movie but it definitely isn't. It is generally enjoyable and ranks among the better entries to the genre. It is neither an unoriginal Dracula remake (like almost every other vampire movie out there) nor is it an unintelligent action spectacle like Blade II. It simply could have used a bit more excitement. I'd really like to see a third installment made by Carpenter but it's probably not going to happen. SPOILER WARNING The ending was way too predictable. Una should have gotten away- that would have made the movie quite unusual.", "label": 1, "domain": "movie_review", "token_count": 308, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0690", "text": "It is a well known fact that when Gene Roddenberry first pitched Star Trek to NBC, the original pilot episode, The Cage, was rejected for being \"too cerebral\". When the series was given another chance, Roddenberry thought it would be fun to establish the events of the rejected episode as canon, and did so by writing The Menagerie, which has the unique distinction of being the sequel to what was still, at the time, an unaired episode. This time, rather than exploring a new planet, Kirk and his crew are on Starbase 11, paying a visit to the former commander of the Enterprise, Christopher Pike (Sean Kenney), now horribly disfigured and paralyzed because of an accident. Pike joins his successor on the starship, where an unpleasant surprise awaits: Spock, who used to serve under Pike, has effectively hijacked the vessel and set the course for Talos IV, a planet which is off-limits (the punishment is death) since Pike and Spock's last visit there, 13 years earlier. Naturally, being a logical creature, Spock turns himself in and arranges a court-martial so that he can justify his actions. There's no need to say more about the plot, since the rest will play out in Part 2. What really impresses is how Roddenberry creates the connection between The Cage and the rest of the Star Trek universe, by coming up with a particular type of flashback (to say more would be too much) that allows everyone, on screen and off, to see what could have been of Trek, had NBC not turned down the original project. In particular, it's fun to see Jeffrey Hunter (who was unable to return in The Menagerie) play Pike as a more serious captain than Kirk usually is and Nimoy's early days as Spock, whose personality hadn't been fully established yet: this is the only time in the entire series that everybody's favorite Vulcan spontaneously grins. In short, not just a great \"mystery\" episode, but also a treat for those who can't be bothered to track down The Cage in its original form (it's available as part of the Season 3 box set).", "label": 1, "domain": "movie_review", "token_count": 449, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0691", "text": "A series of random, seemingly insignificant thefts at her sister's boarding house has Miss Lemon quite agitated. A ring, light bulbs, a rucksack, a lighter, a stethoscope, a shoe – there seems to be no rhyme or reason to any of it. Miss Lemon asks her employer, the great Belgian detective Hercule Poirot, to look into the matter. But what Poirot sees is something far more sinister than Miss Lemon could have imagined. And Poirot's fears are confirmed when one of the students living in the boarding house if found murdered. It's up to Poirot to bring a killer to justice. Hickory Dickory Dock is a solid, but not spectacular, entry in the long running Poirot series. I appreciate how faithful the script is to Agatha Christie's original story. I realize that certain liberties had to be taken, but I appreciate the effort nonetheless. The major points of the mystery are all there – the petty thefts, the boarding house, the students, the ripped rucksack, and, of course, Poirot's ability to see something sinister going on before it actually happens. With a few exceptions, the cast of students is almost as I pictured them. Damian Lewis and Jessica Lloyd standout among the group. As mush as I always enjoy David Suchet's Poirot, I get a real kick out of the episodes with Phillip Jackson's Inspector Japp and Pauline Moran's Miss Lemon. This episode is a real treat as Miss Lemon gets more screen time than usual. Finally, I enjoyed the use of the ever present mouse as an observer of the activities in the hostel. It's a fun little play on the Hickory Dickory Dock title. I realized while re-watching Hickory Dickory Dock just what a tremendous influence Agatha Christie's work was on the highly stylized Italian mystery films, or Gialli, of the 60s and 70s. Take the murder of Mrs. Nicoletis as an example. If you were to bump up the graphic nature of the scene, you would have something straight out of an early 70s Giallo. In fact, the entire plot of Hickory Dickory Dock could have been used in a Giallo. It's just convoluted and interesting enough to have worked.", "label": 1, "domain": "movie_review", "token_count": 478, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0692", "text": "The penultimate collaboration between director Anthony Mann and star James Stewart (excluding the few days Mann worked on Night Passage before parting company with the star under less than amicable circumstances), The Far Country belies its mainstream look to offer another portrait of an embittered man dragged unwillingly to his own redemption, fighting it every step of the way. This time he's a cattle driver whose response to labour problems - challenging troublesome cowhands to a gunfight at the end of the trail - results in his cattle being confiscated by John McIntire's larcenous judge of the Roy Bean school of law and order. Stealing them back and taking them across the Canadian border, he soon finds himself unwillingly drawn into the growing conflict between prospectors and the judge as he cheats or kills them out of their claims... While it's no great surprise which way Stewart turns at the end, he's a surprisingly callous critter along the way, even using his desire to just be left alone to excuse not warning a group of prospectors of an impending avalanche when he has the chance because it's not his problem. For most of the film there's really only a hair's breadth between him and McIntire, something the judge recognises immediately, revelling in the company of a kindred spirit even as he's genially planning to lynch him. In many ways the townspeople who put their faith in him probably recognise it too - despite their appeals to his dead-and-buried better nature, there's an unspoken acknowledgement that the only person who can stand up to the judge is someone almost as bad as he is. As usual with Mann there's an exceptional use of high country locations, though for once the final showdown takes place on level ground, and the film is almost perfectly cast with strong support from Walter Brennan, Harry Morgan and Ruth Roman (though Corinne Calvert's young romantic interest veers to the irritating). Sadly the great cinematography of the Canadian Rockies is done few favours by a distinctly average DVD transfer, with only the theatrical trailer as an extra.", "label": 1, "domain": "movie_review", "token_count": 419, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0693", "text": "While the story of a troubled kid turning to boxing for self-respect and anger management is hardly a new thing, the story is given a fresh twist here when the protagonist is a girl instead of a boy. Diana has trouble at school. She just can't stay away from fighting. At home her father is constantly putting her down. Her brother trains boxing at a gym and one day when she picks him up she decides she also wants to train. It would be easy to call this movie a \"Rocky with girls\" i guess. But that is not at all what this is about. The story actually benefits very much from the main character being a girl rather than a boy. That way you can deal with more problems at once. First the problem of her not being accepted because she's not a girlie-girl, and then when she comes to the boxing gym because she's a girl at all. It's also a story about how a purpose can change someones life. How positive things can make you grow. I don't want this to sound pretentious, because the movie doesn't feel pretentious at all, but what i'm saying is true. Also Michelle Rodriguez is very good in the lead. It's a shame really that she has become stuck in the \"tough girl\" typecasting now, because that's really not what her part in \"Girlfight\" is all about. Sure she's a female boxer, but rather it's the more sensitive moments that really makes her shine. So maybe this is basically your average underdog story with a twist, but it's lifted way above the crowd by Rodriguez' performance. I rate this 7/10.", "label": 1, "domain": "movie_review", "token_count": 338, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0694", "text": "Have you heard the story about the reluctant heroes who were hired by a King to slay a dragon? Oh, you have? Was it set in a world entirely composed of small islands floating above clouds, and did the heroes have to make dangerous leaps from one island to the next on their journey? Did water flow upwards and remnants of great cities levitate on the horizon? I didn't think so. I stumbled onto this movie by accident and I'm really glad that I did! It's one of the most beautiful movies I've ever seen. Much like the Pixar movies, it's a piece of computer animated art that could only be possible in today's world. The animators have invested thought into almost everything that appears on the screen, and this attention to detail is staggering (the scene where the mushrooms in the foreground belch green smoke whilst the characters walk obliviously in the background is one of my favourites). The monsters are also fully realised and wonderful to watch in action. Although the plot may not be entirely unique, the movie has enough charm to make sure you keep watching. Our protagonists are likable and interesting, ensuring the audience is behind their almost impossible quest to reach the end of the world and destroy the dragon which might otherwise devour everything in its path. Of course, Hector is the character most will fall in love with. A small blue creature with a crazy grin and a tendency to speak a mixture of nonsense and English, Hector provides comedy relief in a way Jar Jar Binks could only dream of. In summary, I'd recommend watching The Dragon Hunters if you get the opportunity. Watch it for the incredible animation, the breath-taking battle scenes and for a glimpse into a world that's unlike anything else you've seen on a cinema or television screen. At the very least, it's a fun way to spend an hour and a half - no matter if you're nine or twenty-nine (which, in fact, I am)!", "label": 1, "domain": "movie_review", "token_count": 391, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0695", "text": "According to John Ford's lyrically shot, fictional biopic of Abraham Lincoln's life his greatest faults may have been an obtuseness with woman and an ability to dance in \"the worst way.\" Ford's camera has only praising views to reveal of Mr. Lincoln's early life. But for what the film lacks in character complexities it makes up for in beauty and depth of vision. Uncharacteristically beautiful compositions of early film, what could have been a series of gorgeous still frames, Ford has a unique eye for telling a story. The film sings of the life of a hopeful young man. Henry Fonda plays the contemplative and spontaneously clever Lincoln to a tee, one of his best roles. The film concerns two young men, brothers, on trial for a murder that both claim to have committed. In classic angry mob style, the town decides to take justice into their own hands and lynch the pair of them, until honest Abe steps into the fray. He charms them with his humor, telling them not to rob him of his first big case, and that they are as good as lynched with him as the boys lawyer. What follows seems to become the outline for all courtroom- murder-dramas thereafter, as Abe cunningly interrogates witnesses to the delight and humor of the judge, jury and town before he stumbles upon the missing links. The film plays out like many John Ford movies do: a tablespoon of Americana, a dash of moderate predictability, a hint of sarcasm that you aren't sure if you put in the recipe or if Ford did it himself. Despite the overtly 'Hollywood' feel of the film, and overly patriotic banter alluding to Lincoln's future presidency, the film is entirely enjoyable and enjoyably well constructed, if you can take your drama with a grain of salt.", "label": 1, "domain": "movie_review", "token_count": 369, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0696", "text": "Based on a true story, this series is a gem within its kind. The slave that becomes queen by capturing the heart of the most powerful man in the village. In the diamond mining town of Tijuco in Brazil, the diamond commender--appointed by the king of Portugal--is the ultimate authority. Having grown up in the relative security of his house, the young and beautiful Xica da Silva finds her world threatened when he decides to sell her to a whorehouse in town, refusing to recognize that a black slave girl could be his daughter. In a desperate bid to save herself, Xica steals the diamonds collected by the diamond commender for the king, intending to use them to escape. The king's army arrives to collect the diamonds the very next day, however, and when the loot turns up missing, the diamond commender is led away in chains, his family dispossessed and thrown out in the street with only the clothes on their backs. Martin, the diamond commender's son, swears vengeance. Xica and the other slaves, however, are sold at auction, and Xica ends up in the home of the Sergeant Major, an old man who bought her solely to slake his lust. To the town of Tijuco, however, comes the new diamond commender, the elegant and ruthless Joao Fernandes. Immediately struck by Xica's beauty, he manipulates the Sergeant Major into selling her to him. And thus begins a love story, filled with danger, intrigue and passion, between a willful nobleman and a crafty slave girl who rises to one day become queen. The series is filled with rich details of the era's beliefs, superstitions, politics, fashion, etc. etc. And it really manages to captivate your attention for every minute. At times funny with a sarcastic and dark humor, full of suspense and unexpected twists. \"Xica da Silva\" is definitely a must. I wish I could buy the whole series on DVD.", "label": 1, "domain": "movie_review", "token_count": 405, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0697", "text": "Wow, I can't believe I waited so long to see this film. I just never got around to watching it. The plot has nothing that interests me. I know nothing about soccer (football.) I am one of those American fools that has no clue. I had never even seen David Beckham before this film. I chose to ignore the buzz surrounding this film at the time it was released in America. Enough about me. Truth be told, it was a mistake to ignore this little piece of movie-making heaven. What a fun film. It's full of color and exuberance. I had a goofy grin on my face through the whole movie. Parminder Nagra is so sweet and lovable, you can't help but root for her. No wonder why the American television show E.R. has snatched her up. I have a new appreciation for Indian culture. Those people know how to have a good time. The wedding scenes are dazzlingly beautiful. The only problem I had was deciphering some of the British slang and dialogue through the accents. I turned on the English subtitles to make sure I didn't miss anything. (This is not a criticism of the film!) I'm sure audiences worldwide have trouble understanding the constantly changing slang in American films as well. This is a perfect date film. It has a great sports plot like Rocky, and a strong sense of feminism that is empowering for women. I watched it with my wife, and sixteen year old niece, and we all loved it. I highly recommend it.", "label": 1, "domain": "movie_review", "token_count": 308, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0698", "text": "I had heard good things about this film and was, you guessed it, a bit disappointed. Reese Witherspoon is as promised surprisingly good, surprisingly confident, at a young age; really all the (small) cast are quite solid, in their simple 50s American setting. The reason I didn't rate this film higher is mainly that towards the end, the grief shown by the older sister didn't seem so real and this pulled me out of the film a bit. Perhaps we are expected to fill in the plot, or perhaps the film needed to be a bit longer. Maureen's character is quite underdeveloped I think. It is understandable that Dani (Reese W., the younger) would be traumatised and angry, but why is her sister shown to be more upset? Because she's a few years older? Hasn't the end rather undermined the rest of the film? The pacing of the movie makes it seem that Maureen and Court have only just met, when he gets tractored (warning: this scene is surprisingly brutal, in retrospect it seems like it might have been trying to shock a bit. well it works!). It depends what you want - if you want the girls' happy story of young love that it seems like you're going to get, you're in for a surprise. Man in the Moon is both quaint and dreamy and a harsh coming of age film – a rather awkward combination? I liked the character of Court though, I can see what girls watching this might be watching. And I loved that they had the courage to both let him hurt the younger sister (most men would, most films wouldn't) and get killed. 7/10 on my pretty harsh ratings scale. For some reason I found Jason London on a tractor funny.", "label": 1, "domain": "movie_review", "token_count": 364, "matched_pair_id": null, "split": "train"}
+{"id": "pos_sentiment_train_pos_0699", "text": "This is one of the weirder movies I have recently watched. That's because it seems less like a movie and more like an experimental film. Kurasawa's experiment was to take a variety of individuals who live at a garbage dump and weave their experiences into a tapestry that offers glimpses of their generally harsh existences. Not every episode is depressing and harsh, but overall this is definitely the tone. Let's see,...we have a case of incest/rape, attempted murder, wife swapping, alcoholism, infidelity, death of a little boy after eating tainted fish, a man with severe depression (he never talks during the movie and looks very scary), a hopeless dreamer who would probably be diagnosed with schizophrenia, a mentally retarded young man who thinks he is a street car conductor and spends all his waking moments \"driving\" his street car through paths among the garbage piles, a man married to a total shrew (I think I liked her character even less than the incestuous rapist!), etc., etc. In fact, it is depressing enough that it seemed almost like an Ingmar Bergman movie set in Japan, as Bergman made MANY movies that tended to deal with mental illness and the hopelessness of life. Is it any wonder that after making this film Kurasawa tried to kill himself?! So, did I like it? No. It was not a fun experience. But, it was a very well-made movie that definitely kept my attention and as a result, I really wanted to see what happened to these people. It was sort of like watching a train wreck--you don't WANT to see all the carnage but you can't help but watch! Of all the vignettes, I think that the older man who tended to look out for everyone and who didn't really seem to fit in (he was too well-adjusted and wise to be living in a garbage dump) was perhaps meant to represent Kurasawa himself. Maybe. I dunno. If you've seen a variety of Kurasawa films and have a high tolerance for strange art films, give this one a watch. However, do NOT make this your first experience watching his movies--it's sure to scare away many viewers!", "label": 1, "domain": "movie_review", "token_count": 450, "matched_pair_id": null, "split": "train"}