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smart and alert , thirteen conversations about one thing is a small gem .
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color , musical bounce and warm seas lapping on island shores . and just enough science to send you home thinking .
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it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another .
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a light-hearted french film about the spiritual quest of a fashion model seeking peace of mind while in a love affair with a veterinarian who is a non-practicing jew .
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my wife is an actress has its moments in looking at the comic effects of jealousy . in the end , though , it is only mildly amusing when it could have been so much more .
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even a hardened voyeur would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .
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when perry fists a bull at the moore farm , it's only a matter of time before he gets the upper hand in matters of the heart .
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the characters . . . are paper-thin , and their personalities undergo radical changes when it suits the script .
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the script is a tired one , with few moments of joy rising above the stale material .
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the bland outweighs the nifty , and cletis tout never becomes the clever crime comedy it thinks it is .
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it's a very tasteful rock and roll movie . you could put it on a coffee table anywhere .
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provides the kind of 'laugh therapy' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending . after seeing 'analyze that , ' i feel better already .
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worth a look by those on both sides of the issues , if only for the perspective it offers , one the public rarely sees .
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watching the film is like reading a times portrait of grief that keeps shifting focus to the journalist who wrote it .
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despite these annoyances , the capable clayburgh and tambor really do a great job of anchoring the characters in the emotional realities of middle age .
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it's a good thing that woolly mammoths are extinct , because this movie will have every kid in the schoolyard wishing for their very own .
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preposterous and tedious , sonny is spiked with unintentional laughter that , unfortunately , occurs too infrequently to make the film even a guilty pleasure .
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4ever has the same sledgehammer appeal as pokemon videos , but it breathes more on the big screen and induces headaches more slowly .
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si el siglo xxi necesita de hroes , el hombre araa parece haber llegado para quedarse .
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it's hard to tell with all the crashing and banging where the salesmanship ends and the movie begins .
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it desperately wants to be a wacky , screwball comedy , but the most screwy thing here is how so many talented people were convinced to waste their time .
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writer/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable .
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hill looks to be going through the motions , beginning with the pale script .
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extremely well cast , especially in the large number of supporting roles .
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a chilling tale of one of the great crimes of 20th century france : the murder of two rich women by their servants in 1933 .
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impostor doesn't do much with its template , despite a remarkably strong cast .
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if you can keep your eyes open amid all the blood and gore , you'll see del toro has brought unexpected gravity to blade ii .
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a work that lacks both a purpose and a strong pulse .
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it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid .
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a mimetic approximation of better films like contempt and 8 1/2 .
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eastwood is an icon of moviemaking , one of the best actors , directors and producers around , responsible for some excellent work . but even a hero can stumble sometimes .
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nair doesn't use [monsoon wedding] to lament the loss of culture . instead , she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions .
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stuffed to the brim with ideas , american instigator michael moore's film is a rambling examination of american gun culture that uses his usual modus operandi of crucifixion through juxtaposition .
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. . . a joke at once flaky and resonant , lightweight and bizarrely original .
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fontaine's direction , especially her agreeably startling use of close-ups and her grace with a moving camera , creates sheerly cinematic appeal .
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starts slowly , but adrien brody in the title role helps make the film's conclusion powerful and satisfying .
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a refreshing change from the usual whoopee-cushion effort aimed at the youth market .
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a distant , even sterile , yet compulsively watchable look at the sordid life of hogan's heroes star bob crane .
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there's no disguising this as one of the worst films of the summer . or for the year , for that matter .
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director dan verete uses his camera as the metaphoric needle , and his cast in each segment as his thread , to form a sweeping tapestry of mis-explanation and contention .
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waydowntown just like most large cities , isn't somewhere you'll want to spend the rest of your life , but it sure is a fun place to visit for a while .
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the acting in pauline and paulette is good all round , but what really sets the film apart is debrauwer's refusal to push the easy emotional buttons .
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the only young people who possibly will enjoy it are infants . . . who might be distracted by the movie's quick movements and sounds .
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there's lots of cool stuff packed into espn's ultimate x .
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it gets old quickly . watch barbershop again if you're in need of a cube fix--this isn't worth sitting through .
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harland williams is so funny in drag he should consider permanent sex-reassignment .
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the film's images give a backbone to the company and provide an emotional edge to its ultimate demise .
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it's the kind of film where the villain even gives an evil look for his passport photo . how can you resist that ?
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plotless collection of moronic stunts is by far the worst movie of the year .
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a broad , melodramatic estrogen opera that's pretty toxic in its own right .
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this is a movie where the most notable observation is how long you've been sitting still .
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with a romantic comedy plotline straight from the ages , this cinderella story doesn't have a single surprise up its sleeve . but it does somehow manage to get you under its spell .
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a charming trifle . . . a welcome return to jocular form .
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it's not difficult to spot the culprit early-on in this predictable thriller .
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without the dark spookiness of crystal lake camp , the horror concept completely loses its creepy menace .
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there's suspension of disbelief and then there's bad screenwriting . . . this film packs a wallop of the latter .
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anyone who can count to five ( the film's target market ? ) can see where this dumbed-down concoction is going .
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every defiantly over-the-top action scene -- from high-stakes car chases to fearsome drug busts -- seizes your adrenal gland and milks it like an epileptic farmer .
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kosminsky . . . puts enough salt into the wounds of the tortured and self-conscious material to make it sting .
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a sobering and powerful documentary about the most severe kind of personal loss : rejection by one's mother .
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if the story lacks bite , the performances are never less than affectionate .
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a deftly entertaining film , smartly played and smartly directed .
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skip work to see it at the first opportunity .
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both the film and nachtwey's photos hammer home the grim reality of the world's gutters and battlefields , and will make you question what 'news' really is .
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so relentlessly wholesome it made me want to swipe something .
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shyamalan offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes .
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that 'alabama' manages to be pleasant in spite of its predictability and occasional slowness is due primarily to the perkiness of witherspoon ( who is always a joy to watch , even when her material is not first-rate ) . . .
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against all odds in heaven and hell , it creeped me out just fine .
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nicely combines the enigmatic features of 'memento' with the hallucinatory drug culture of 'requiem for a dream . '
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it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come .
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japan's premier stylist of sex and blood hits audiences with what may be his most demented film to date .
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the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them . strange occurrences build in the mind of the viewer and take on extreme urgency .
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in the spirit of voltaire and molire , on guard volleys great wit and deadly gestures in a milieu of lush apparel , landscapes , captivating music and 18th-century lacy sleeves .
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while holm is terrific as both men and hjejle quite appealing , the film fails to make the most out of the intriguing premise .
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while hollywood ending has its share of belly laughs ( including a knockout of a closing line ) , the movie winds up feeling like a great missed opportunity .
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ultimately , in the history of the academy , people may be wondering what all that jazz was about " chicago " in 2002 . zellweger's whiny pouty-lipped poof faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a
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es divertida , visualmente espectacular y muy entretenida . simple y sencillamente te sorprender .
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not since japanese filmmaker akira kurosawa's ran have the savagery of combat and the specter of death been visualized with such operatic grandeur .
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the video work is so grainy and rough , so dependent on being 'naturalistic' rather than carefully lit and set up , that it's exhausting to watch .
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the cumulative effect of the movie is repulsive and depressing .
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passionate , irrational , long-suffering but cruel as a tarantula , helga figures prominently in this movie , and helps keep the proceedings as funny for grown-ups as for rugrats .
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christians sensitive to a reductionist view of their lord as a luv-spreading dr . feelgood or omnipotent slacker will feel vastly more affronted than secularists , who might even praise god for delivering such an instant camp classic .
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aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .
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it's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .
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when your subject is illusion versus reality , shouldn't the reality seem at least passably real ?
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confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .
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sitting in the third row of the imax cinema at sydney's darling harbour , but i sometimes felt as though i was in the tiny two seater plane that carried the giant camera around australia , sweeping and gliding , banking and hovering over some of the most not
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it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .
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the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits .
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it's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience .
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for a rapsploitation film to target and frown upon the darker forces of its nature is certainly a good sign for the maturation of the genre .
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a movie that doesn't aim too high , but doesn't need to .
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the kind of movie that seduces you into becoming putty in its manipulative card-sharking hands and making you enjoy being taken in by its shameless contrivance .
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an erotic thriller that's neither too erotic nor very thrilling , either .
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the best part about " gangs " was daniel day-lewis .
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the work of an artist tormented by his heritage , using his storytelling ability to honor the many faceless victims .
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rarely has skin looked as beautiful , desirable , even delectable , as it does in trouble every day .
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the disjointed mess flows as naturally as jolie's hideous yellow 'do .
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the plan to make enough into an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller' has flopped as surely as a souffl gone wrong .
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raunchy though [cho's] material is , it embraces all comers , regardless of gender , sexuality , race or ethnicity . and it's never been sharper -- or funnier -- than it is here .
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End of preview. Expand in Data Studio
Dataset used in the paper:
A thorough benchmark of automatic text classification From traditional approaches to large language models
https://github.com/waashk/atcBench
To guarantee the reproducibility of the obtained results, the dataset and its respective CV train-test partitions is available here.
Each dataset contains the following files:
- data.parquet: pandas DataFrame with texts and associated encoded labels for each document.
- split_<k>.pkl: pandas DataFrame with k-cross validation partition.
- For each fold <k>:
- train_fold_<k>.parquet: pandas DataFrame with texts and associated encoded labels for each document on the training split k (according to split_<k>.pkl)
- train_fold_<k>.parquet: pandas DataFrame with texts and associated encoded labels for each document on the testing split k (according to split_<k>.pkl)
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