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if no one singles out any of these performances as award-worthy , it's only because we would expect nothing less from this bunch .
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a taut , intelligent psychological drama .
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you might not buy the ideas . but you'll definitely want the t-shirt .
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a thoughtful , provocative , insistently humanizing film .
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like old myths and wonder tales spun afresh .
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the whole cast looks to be having so much fun with the slapstick antics and silly street patois , tossing around obscure expressions like bellini and mullinski , that the compact 86 minutes breezes by .
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like mike doesn't win any points for originality . it does succeed by following a feel-good formula with a winning style , and by offering its target audience of urban kids some welcome role models and optimism .
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an imaginative comedy/thriller .
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everything that has to do with yvan and charlotte , and everything that has to do with yvan's rambunctious , jewish sister and her non-jew husband , feels funny and true .
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the film's sharp , often mischievous sense of humor will catch some off guard . . .
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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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as if to prove a female director can make a movie with no soft edges , kathryn bigelow offers no sugar-coating or interludes of lightness . her film is unrelentingly claustrophobic and unpleasant .
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hey , who else needs a shower ?
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remarkably accessible and affecting .
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it ultimately stands forth as an important chronicle of the abuses of one of latin america's most oppressive regimes .
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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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one of the greatest romantic comedies of the past decade .
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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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a film of precious increments artfully camouflaged as everyday activities .
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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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a romantic comedy that operates by the rules of its own self-contained universe .
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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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legendary irish writer brendan behan's memoir , borstal boy , has been given a loving screen transferral .
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rare is the 'urban comedy' that even attempts the insight and honesty of this disarming indie .
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this is one of polanski's best films .
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guaranteed to move anyone who ever shook , rattled , or rolled .
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behan himself knew how to spin a tale and one can't help but think he'd appreciate this attempt to turn his life into art .
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offers that rare combination of entertainment and education .
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my goodness , queen latifah has a lot to offer and she seemed to have no problem flaunting her natural gifts . she must have a very strong back .
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the best movie of its kind since 'brazil . ' lucas , take notes . this is how you use special effects .
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when it really counts . . . bloody sunday connects on a visceral level that transcends language .
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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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a smart , sweet and playful romantic comedy .
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spielberg is the rare director who does not want to invite viewers to gawk at or applaud his special effects . he just wants them to be part of the action , the wallpaper of his chosen reality . here , thankfully , they are .
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a very witty take on change , risk and romance , and the film uses humour to make its points about acceptance and growth .
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this may not have the dramatic gut-wrenching impact of other holocaust films , but it's a compelling story , mainly because of the way it's told by the people who were there .
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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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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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cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days
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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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stephen earnhart's homespun documentary mule skinner blues has nothing but love for its posse of trailer park denizens .
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family fare .
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a very funny movie .
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i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory .
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though everything might be literate and smart , it never took off and always seemed static .
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an impressive if flawed effort that indicates real talent .
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what might have been a predictably heartwarming tale is suffused with complexity .
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merely as a technical , logistical feat , russian ark marks a cinematic milestone .
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bullock does a good job here of working against her natural likability .
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recalls quiet freak-outs like l'avventura and repulsion .
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as lo-fi as the special effects are , the folks who cobbled nemesis together indulge the force of humanity over hardware in a way that george lucas has long forgotten .
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compelling revenge thriller , though somewhat weakened by a miscast leading lady .
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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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[an] hilarious romantic comedy .
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ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis .
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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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the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up .
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for anyone who remembers the '60s or is interested in one man's response to stroke , ram dass : fierce grace is worth seeking out .
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the tone is balanced , reflective and reasonable .
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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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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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by presenting an impossible romance in an impossible world , pumpkin dares us to say why either is impossible -- which forces us to confront what's possible and what we might do to make it so .
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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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never [sinks] into exploitation .
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it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .
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. . . a roller-coaster ride of a movie
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if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic .
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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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although very much like the first movie based on j . k . rowling's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude .
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a whole lot foul , freaky and funny .
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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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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 remarkable 179-minute meditation on the nature of revolution .
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a well-made thriller with a certain level of intelligence and non-reactionary morality .
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a few artsy flourishes aside , narc is as gritty as a movie gets these days .
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fisher has bared his soul and confronted his own shortcomings here in a way . . . that feels very human and very true to life .
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take care of my cat offers a refreshingly different slice of asian cinema .
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hands down the year's most thought-provoking film . but it pays a price for its intricate intellectual gamesmanship .
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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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somewhere short of tremors on the modern b-scene : neither as funny nor as clever , though an agreeably unpretentious way to spend ninety minutes .
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you could say that it's slow at times , you could say that a few of the characters act in ways that real people wouldn't , but one thing you couldn't say is that alias betty is predictable .
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there are a few stabs at absurdist comedy . . . but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty .
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one of the best , most understated performances of [jack nicholson's] career .
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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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maybe it's just because this past year has seen the release of some of the worst film comedies in decades . . . but honestly , analyze that really isn't all that bad .
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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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it's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene .
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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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the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor .
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the tenderness of the piece is still intact .
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it's rare to find a film that dazzles the eye , challenges the brain , and satisfies our lust for fast-paced action , but minority report delivers all that and a whole lot more .
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a model of what films like this should be like .
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the movie is a blast of educational energy , as bouncy animation and catchy songs escort you through the entire 85 minutes .
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a wonderful character-based comedy .
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the movie has an avalanche of eye-popping visual effects .
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the seaside splendor and shallow , beautiful people are nice to look at while you wait for the story to get going .
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this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever .
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offers a breath of the fresh air of true sophistication .
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most impressive , though , is the film's open-ended finale that refuses to entirely close its characters' emotional wounds .
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ranks among willams' best screen work .
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End of preview. Expand in Data Studio

edition_0038_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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