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bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy !
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if you can get past the fantastical aspects and harsh realities of " the isle " you'll get a sock-you-in-the-eye flick that is a visual tour-de-force and a story that is unlike any you will likely see anywhere else .
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[villeneuve] seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death .
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if it's possible for a sequel to outshine the original , then sl2 does just that .
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it sounds sick and twisted , but the miracle of shainberg's film is that it truly is romance
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a droll , well-acted , character-driven comedy with unexpected deposits of feeling .
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as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos' memories and insights .
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if you liked such movies as notting hill , four weddings and a funeral , bridget jones' diary or high fidelity , then you won't want to miss about a boy .
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a pleasant enough movie , held together by skilled ensemble actors .
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a charming yet poignant tale of the irrevocable ties that bind .
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a byzantine melodrama that stimulates the higher brain functions as well as the libido .
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it's fun , but the code-talk will fly right over everyone's head
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just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing .
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what might have been a predictably heartwarming tale is suffused with complexity .
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the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain .
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thoroughly enjoyable .
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. . . has freaky scenes where the crew wonder if they're ghosts imagining themselves as alive . it's a sly wink to the others without becoming a postmodern joke , made creepy by its " men in a sardine can " warped logic .
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at heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance .
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i admired this work a lot .
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the result is mesmerizing -- filled with menace and squalor .
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like old myths and wonder tales spun afresh .
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. . . the gentle melding of drama and comedy makes " what time is it there ? " something the true film buff will enjoy .
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it's almost impossible not to be moved by the movie's depiction of sacrifice and its stirring epilogue in post-soviet russia .
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one of the best , most understated performances of [jack nicholson's] career .
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it represents better-than-average movie-making that doesn't demand a dumb , distracted audience .
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all the performances are top notch and , once you get through the accents , all or nothing becomes an emotional , though still positive , wrench of a sit .
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an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy
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makmalbaf follows a resolutely realistic path in this uncompromising insight into the harsh existence of the kurdish refugees of iran's borderlands .
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while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy .
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at its best early on as it plays the culture clashes between the brothers .
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its mysteries are transparently obvious , and it's too slowly paced to be a thriller . [but it's] worth recommending because of two marvelous performances by michael caine and brendan fraser .
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an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video .
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post 9/11 the philosophical message of " personal freedom first " might not be as palatable as intended .
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a slick , skillful little horror film .
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together , tok and o orchestrate a buoyant , darkly funny dance of death . in the process , they demonstrate that there's still a lot of life in hong kong cinema .
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. . . there are enough moments of heartbreaking honesty to keep one glued to the screen .
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bennett's dramatization of her personal descent into post-breakup perdition has a morbid appeal that's tough to shake .
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i don't know precisely what to make of steven soderbergh's full frontal , though that didn't stop me from enjoying much of it .
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an engaging overview of johnson's eccentric career .
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. . . a polished and relatively sincere piece of escapism .
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newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg .
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if you love reading and/or poetry , then by all means check it out . you'll probably love it .
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an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood .
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rare is the 'urban comedy' that even attempts the insight and honesty of this disarming indie .
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as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .
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foster nails the role , giving a tight , focused performance illuminated by shards of feeling .
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some actors have so much charisma that you'd be happy to listen to them reading the phone book . hugh grant and sandra bullock are two such likeable actors .
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maguire is a surprisingly effective peter/spider-man .
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is office work really as alienating as 'bartleby' so effectively makes it ?
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a classy item by a legend who may have nothing left to prove but still has the chops and drive to show how its done .
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steers turns in a snappy screenplay that curls at the edges ; it's so clever you want to hate it . but he somehow pulls it off .
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merely as a technical , logistical feat , russian ark marks a cinematic milestone .
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its scenes and sensibility are all more than familiar , but it exudes a kind of nostalgic spy-movie charm and , at the same time , is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time .
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a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass .
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a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters .
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as shaky as the plot is , kaufman's script is still memorable for some great one-liners .
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disturbing and brilliant documentary .
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it will delight newcomers to the story and those who know it from bygone days .
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. . . mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return .
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though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance .
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you walk out of the good girl with mixed emotions disapproval of justine combined with a tinge of understanding for her actions .
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a tender and touching drama , based on the true story of a troubled african-american's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle .
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the rock is destined to be the 21st century's new " conan " and that he's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal .
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katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself
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fuller would surely have called this gutsy and at times exhilarating movie a great yarn .
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the result is something quite fresh and delightful .
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you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's good and horrid .
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for a good chunk of its running time , trapped is an effective and claustrophobic thriller .
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a feel-good picture in the best sense of the term .
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sweet home alabama " is what it is a nice , harmless date film . . .
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while this film is not in the least surprising , it is still ultimately very satisfying . think of it as a sort of comfort food for the mind .
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4 friends , 2 couples , 2000 miles , and all the pabst blue ribbon beer they can drink - it's the ultimate redneck road-trip .
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one of the best examples of how to treat a subject , you're not fully aware is being examined , much like a photo of yourself you didn't know was being taken .
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kaufman creates an eerie sense of not only being there at the time of these events but the very night matthew was killed .
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farrell . . . thankfully manages to outshine the role and successfully plays the foil to willis's world-weary colonel .
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the film delivers not just the full assault of reno's immense wit and insight , but a time travel back to what it felt like during those unforgettably uncertain days .
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as green-guts monster movies go , it's a beaut .
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the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible !
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a thoughtful look at a painful incident that made headlines in 1995 .
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remains a solid , if somewhat heavy-handed , account of the near-disaster . . . done up by howard with a steady , if not very imaginative , hand .
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more a load of enjoyable , conan-esque claptrap than the punishing , special-effects soul assaults the mummy pictures represent .
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it's often infuriatingly glib and posturing , and yet it has been made with great evident care and manages to deliver up the man in a way to arouse further curiosity in even the most unknowing viewer .
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energetic and boldly provocative .
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well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull .
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one of the greatest family-oriented , fantasy-adventure movies ever .
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a taut , intelligent psychological drama .
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haneke challenges us to confront the reality of sexual aberration .
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those who would follow haneke on his creepy explorations . . . are rewarded by brutal , committed performances from huppert and magimel .
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perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .
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if your senses haven't been dulled by slasher films and gorefests , if you're a connoisseur of psychological horror , this is your ticket .
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it's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru .
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one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind .
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a splendid entertainment , young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience .
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romanek keeps the film constantly taut . . . reflecting the character's instability with a metaphorical visual style and an unnerving , heartbeat-like score .
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the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure .
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polished korean political-action film is just as good -- and bad -- as hollywood action epics . is this progress ?
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a cop story that understands the medium amazingly well .
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in its ragged , cheap and unassuming way , the movie works .
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as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [sex and lucía] makes for an arousing good time .
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sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open .
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End of preview. Expand
in Data Studio
edition_1813_cornell-movie-review-data-rotten_tomatoes-readymade
A Readymade by TheFactoryX
Original Dataset
cornell-movie-review-data/rotten_tomatoes
Process
This dataset is a "readymade" - inspired by Marcel Duchamp's concept of taking everyday objects and recontextualizing them as art.
What we did:
- Selected the original dataset from Hugging Face
- Shuffled each column independently
- Destroyed all row-wise relationships
- Preserved structure, removed meaning
The result: Same data. Wrong order. New meaning. No meaning.
Purpose
This is art. This is not useful. This is the point.
Column relationships have been completely destroyed. The data maintains its types and values, but all semantic meaning has been removed.
Part of the Readymades project by TheFactoryX.
"I am a machine." — Andy Warhol
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