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for a good chunk of its running time , trapped is an effective and claustrophobic thriller .
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despite the long running time , the pace never feels slack -- there's no scene that screams " bathroom break ! "
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a droll , well-acted , character-driven comedy with unexpected deposits of feeling .
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the tone is balanced , reflective and reasonable .
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an idealistic love story that brings out the latent 15-year-old romantic in everyone .
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dark and disturbing , but also surprisingly funny .
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you should pay nine bucks for this : because you can hear about suffering afghan refugees on the news and still be unaffected . dramas like this make it human .
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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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a remarkable 179-minute meditation on the nature of revolution .
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manages to be original , even though it rips off many of its ideas .
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it uses an old-time formula , it's not terribly original and it's rather messy -- but you just have to love the big , dumb , happy movie my big fat greek wedding .
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there's enough science to make it count as educational , and enough beauty to make it unforgettable .
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all but the most persnickety preteens should enjoy this nonthreatening but thrilling adventure .
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despite its many infuriating flaws -- not the least of which is amy's self-absorbed personality -- amy's o's honesty will win you over .
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absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way .
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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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long after you leave justine , you'll be wondering what will happen to her and wishing her the best -- whatever that might mean .
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moore's performance impresses almost as much as her work with haynes in 1995's safe .
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doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie's spycraft and uses damon's ability to be focused and sincere .
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using his audience as a figurative port-of-call , dong pulls his even-handed ideological ship to their dock for unloading , before he continues his longer journey still ahead .
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the invincible werner herzog is alive and well and living in la
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exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce .
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münch's genuine insight makes the film's occasional overindulgence forgivable .
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murderous maids may well be the most comprehensive of these films and also strike closest to the truth .
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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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ray liotta and jason patric do some of their best work in their underwritten roles , but don't be fooled : nobody deserves any prizes here .
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it's amazingly perceptive in its subtle , supportive but unsentimental look at the marks family .
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a thoughtful , moving piece that faces difficult issues with honesty and beauty .
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you'd think by now america would have had enough of plucky british eccentrics with hearts of gold . yet the act is still charming here .
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go see it and enjoy .
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far from perfect , but its heart is in the right place . . . innocent and well-meaning .
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this is simply the most fun you'll ever have with a documentary !
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stevenson's performance is at once clueless and fiercely committed , a volatile combination .
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a well-made and often lovely depiction of the mysteries of friendship .
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few films this year have been as resolute in their emotional nakedness .
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tender yet lacerating and darkly funny fable .
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an unabashedly schmaltzy and thoroughly enjoyable true story .
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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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hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love .
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a sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears .
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this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak .
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a thoughtful , provocative , insistently humanizing film .
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compelling revenge thriller , though somewhat weakened by a miscast leading lady .
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jirí hubac's script is a gem . his characters are engaging , intimate and the dialogue is realistic and greatly moving . the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .
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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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this is a very fine movie -- go see it .
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as bundy , michael reilly burke ( octopus 2 : river of fear ) has just the right amount of charisma and menace .
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one scarcely needs the subtitles to enjoy this colorful action farce .
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everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse .
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not everything works , but the average is higher than in mary and most other recent comedies .
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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 masterpiece four years in the making .
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cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days
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the principals in this cast are all fine , but bishop and stevenson are standouts .
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visits spy-movie territory like a novel you can't put down , examines a footnote to history seldom brought to light on the screen , and keeps you guessing from first frame to last .
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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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singer/composer bryan adams contributes a slew of songs — a few potential hits , a few more simply intrusive to the story — but the whole package certainly captures the intended , er , spirit of the piece .
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nearly surreal , dabbling in french , this is no simple movie , and you'll be taking a risk if you choose to see it . i enjoyed the ride ( bumps and all ) , creamy depth , and ultimate theme .
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kinnear gives a tremendous performance .
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( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind .
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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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an exhilarating experience .
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legendary irish writer brendan behan's memoir , borstal boy , has been given a loving screen transferral .
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guaranteed to move anyone who ever shook , rattled , or rolled .
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offers that rare combination of entertainment and education .
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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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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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who knows what exactly godard is on about in this film , but his words and images don't have to add up to mesmerize you .
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what's most striking about this largely celebratory film . . . is the sense of isolation that permeates these bastions of individuality in an ikea world .
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an imaginative comedy/thriller .
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this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wanna have fun into a rousing treatise of sensual empowerment .
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a few artsy flourishes aside , narc is as gritty as a movie gets these days .
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elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone .
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despite its flaws , secretary stays in your head and makes you question your own firmly held positions .
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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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a mostly intelligent , engrossing and psychologically resonant suspenser .
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it's this memory-as-identity obviation that gives secret life its intermittent unease , reaffirming that long-held illusions are indeed reality , and that erasing them recasts the self .
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a triumph of art direction over narrative , but what art direction !
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it would be interesting to hear from the other side , but in talk to her , the women are down for the count .
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a romantic comedy that operates by the rules of its own self-contained universe .
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though this film can be clumsy , its ambitions are equally -- and admirably -- uncommercial .
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behind the snow games and lovable siberian huskies ( plus one sheep dog ) , the picture hosts a parka-wrapped dose of heart .
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if there's a way to effectively teach kids about the dangers of drugs , i think it's in projects like the ( unfortunately r-rated ) paid .
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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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never [sinks] into exploitation .
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this boisterous comedy serves up a cruel reminder of the fate of hundreds of thousands of chinese , one which can only qualify as a terrible tragedy .
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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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chalk it up to my adoration for both de niro and murphy , but i had a pretty good time with this movie - despite its myriad flaws .
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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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at its best early on as it plays the culture clashes between the brothers .
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whether you're moved and love it , or bored or frustrated by the film , you'll still feel something .
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moore's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that's still very much playing itself out .
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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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by the end of no such thing the audience , like beatrice , has a watchful affection for the monster .
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while not all transitions to adulthood are so fraught , there's much truth and no small amount of poetry in girls can't swim .
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with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives .
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there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way .
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a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her .
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emerges as something rare , an issue movie that's so honest and keenly observed that it doesn't feel like one .
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'compleja e intelectualmente retadora , el ladrón de orquídeas es uno de esos filmes que vale la pena ver precisamente por su originalidad . '
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End of preview. Expand in Data Studio

edition_0035_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:

  1. Selected the original dataset from Hugging Face
  2. Shuffled each column independently
  3. Destroyed all row-wise relationships
  4. 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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