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must be seen to be believed .
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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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edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery .
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engagingly captures the maddening and magnetic ebb and flow of friendship .
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it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .
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energetic and boldly provocative .
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maguire is a surprisingly effective peter/spider-man .
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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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on the surface , it's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz's and kieslowski's earlier work , films like the double life of veronique .
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high on melodrama . but it's emotionally engrossing , too , thanks to strong , credible performances from the whole cast .
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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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. . . there are enough moments of heartbreaking honesty to keep one glued to the screen .
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dark and disturbing , but also surprisingly funny .
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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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chicago is sophisticated , brash , sardonic , completely joyful in its execution .
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the people in dogtown and z-boys are so funny , aggressive and alive , you have to watch them because you can't wait to see what they do next .
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presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it .
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offers a breath of the fresh air of true sophistication .
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[taymor] utilizes the idea of making kahlo's art a living , breathing part of the movie , often catapulting the artist into her own work . this isn't a new idea . it's been done before but never so vividly or with so much passion .
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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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this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border .
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windtalkers is shapelessly gratifying , the kind of movie that invites you to pick apart its faults even as you have to admit that somehow it hit you where you live .
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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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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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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] rare , beautiful film .
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whether or not you're enlightened by any of derrida's lectures on " the other " and " the self , " derrida is an undeniably fascinating and playful fellow .
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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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the movie has an avalanche of eye-popping visual effects .
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moore's performance impresses almost as much as her work with haynes in 1995's safe .
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a deceivingly simple film , one that grows in power in retrospect .
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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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run , don't walk , to see this barbed and bracing comedy on the big screen .
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a mostly intelligent , engrossing and psychologically resonant suspenser .
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kinnear gives a tremendous performance .
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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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there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way .
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an impressive if flawed effort that indicates real talent .
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digital-video documentary about stand-up comedians is a great glimpse into a very different world .
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. . . tunney is allowed to build an uncommonly human character , an almost real-live girl complete with trouble and hope .
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even with all those rough edges safely sanded down , the american insomnia is still pretty darned good .
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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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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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a pleasant enough movie , held together by skilled ensemble actors .
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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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this examination of aquatic life off the shores of the baja california peninsula of mexico offers an engrossing way to demonstrate the virtues of the imax format .
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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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a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time .
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the level of maturity displayed by this 33-year-old first-time feature director is astonishing , considering her inexperience and her subject matter .
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mr . parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom .
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an amusing , breezily apolitical documentary about life on the campaign trail .
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there are as many misses as hits , but ultimately , it finds humor in the foibles of human behavior , and it's a welcome return to the roots of a genre that should depend on surprises .
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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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an exhilarating experience .
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a great comedy filmmaker knows great comedy needn't always make us laugh . tim story's not there yet - but 'barbershop' shows he's on his way .
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recalls quiet freak-outs like l'avventura and repulsion .
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the passions aroused by the discord between old and new cultures are set against the strange , stark beauty of the mideast desert , so lovingly and perceptively filmed that you can almost taste the desiccated air .
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an unabashedly schmaltzy and thoroughly enjoyable true story .
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the tenderness of the piece is still intact .
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as a director , mr . ratliff wisely rejects the temptation to make fun of his subjects .
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" extreme ops " exceeds expectations . good fun , good action , good acting , good dialogue , good pace , good cinematography .
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ana is a vivid , vibrant individual and the movie's focus upon her makes it successful and accessible .
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a screenplay more ingeniously constructed than " memento "
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an intelligent fiction about learning through cultural clash .
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when it really counts . . . bloody sunday connects on a visceral level that transcends language .
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those outside show business will enjoy a close look at people they don't really want to know .
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it's fun , but the code-talk will fly right over everyone's head
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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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without heavy-handedness , dong provides perspective with his intelligent grasp of human foibles and contradictions .
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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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like old myths and wonder tales spun afresh .
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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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children may not understand everything that happens -- i'm not sure even miyazaki himself does -- but they will almost certainly be fascinated , and undoubtedly delighted .
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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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not for everyone , but for those with whom it will connect , it's a nice departure from standard moviegoing fare .
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the stunning , dreamlike visuals will impress even those viewers who have little patience for euro-film pretension .
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haneke challenges us to confront the reality of sexual aberration .
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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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it's traditional moviemaking all the way , but it's done with a lot of careful period attention as well as some very welcome wit .
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attal mixes comedy with a serious exploration of ego and jealousy within a seemingly serene marriage .
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somewhat blurred , but kinnear's performance is razor sharp .
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" its successes are also tempered with elements which prove the direct antithesis of what it gets right . "
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the film is often filled with a sense of pure wonderment and excitement not often seen in today's cinema du sarcasm
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hey , who else needs a shower ?
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an unbelievably fun film just a leading man away from perfection .
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. . . a polished and relatively sincere piece of escapism .
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this is such a dazzlingly self-assured directorial debut that it's hard to know what to praise first .
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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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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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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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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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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 movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries .
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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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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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a model of what films like this should be like .
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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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disturbing and brilliant documentary .
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a taut , intelligent psychological drama .
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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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End of preview. Expand
in Data Studio
edition_1952_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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