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May 9, 2018 15:17
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RNN with single output
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#!/usr/bin/env python3 | |
import csv | |
import tensorflow as tf | |
from tensorflow.contrib.feature_column import sequence_categorical_column_with_identity, sequence_input_layer | |
from random import shuffle | |
import numpy as np | |
with open('train.tsv') as f: | |
reader = csv.reader(f, delimiter='\t') | |
# skip header | |
next(reader) | |
lines = [row for row in reader] | |
domain = set(''.join([r[2] for r in lines])) | |
domain_size = len(domain) | |
to_int = {term: i + 1 for i, term in enumerate(domain)} | |
to_term = {i: term for term, i in to_int.items()} | |
num_steps = 50 | |
def to_xy(data): | |
return [r[0] for r in data], [[r[1]] for r in data] | |
def pad_data(x): | |
row_len = [len(r) for r in x] | |
max_len = max(row_len) | |
x = [[0] * (max_len - row_len[i]) + r for i, r in enumerate(x)] | |
return np.array(x) | |
def prepare_data(lines): | |
data_all = [[[to_int[c] for c in list(r[2])], int(r[3])] for r in lines if len(r[2]) <= num_steps] | |
shuffle(data_all) | |
data_x, data_y = to_xy(data_all) | |
nclass = max(data_y)[0] + 1 | |
data_y = np.eye(nclass, dtype=np.int32)[np.array(data_y).reshape(-1)] | |
data_x = pad_data(data_x) | |
return data_x, data_y, nclass | |
x, y, nclass = prepare_data(lines) | |
train_split, val_split = int(0.8 * len(x)), int(0.9 * len(x)) | |
train_x, train_y = x[:train_split], y[:train_split] | |
valid_x, valid_y = x[train_split:val_split], y[train_split:val_split] | |
test_x, test_y = x[val_split:], y[val_split:] | |
def rnn_model(features, labels, mode=None, params=None, config=None): | |
chars = sequence_categorical_column_with_identity('chars', params['domain_size']+1) | |
chars_emb = tf.feature_column.embedding_column(chars, dimension=10) | |
columns = [chars_emb] | |
input_layer, sequence_length = sequence_input_layer(features, columns) | |
hidden_units = 32 | |
lstm = tf.nn.rnn_cell.LSTMCell(hidden_units, state_is_tuple=True) | |
rnn_outputs, state = tf.nn.dynamic_rnn(lstm, | |
inputs = input_layer, | |
sequence_length=sequence_length, dtype=tf.float32) | |
output = rnn_outputs[:,-1,:] | |
logits = tf.layers.dense(output, params['n_classes'], activation=tf.nn.tanh) | |
# apply projection to every timestep. | |
# Compute predictions. | |
predicted_classes = tf.nn.softmax(logits) | |
# Compute loss. | |
loss = tf.nn.softmax_cross_entropy_with_logits_v2(labels=labels, logits=logits) | |
# Compute evaluation metrics. | |
accuracy = tf.metrics.accuracy(labels=labels, | |
predictions=predicted_classes, | |
name='acc_op') | |
metrics = {'accuracy': accuracy} | |
tf.summary.scalar('accuracy', accuracy[1]) | |
optimizer = tf.train.AdagradOptimizer(learning_rate=0.1) | |
train_op = optimizer.minimize(loss, global_step=tf.train.get_global_step()) | |
return tf.estimator.EstimatorSpec(mode, loss=loss, train_op=train_op) | |
train_input_fn = tf.estimator.inputs.numpy_input_fn( | |
x={"chars": train_x}, | |
y=train_y, | |
num_epochs=1, | |
shuffle=False, | |
batch_size=8) | |
classifier = tf.estimator.Estimator(model_fn=rnn_model, | |
params={'n_classes': nclass, | |
'domain_size': domain_size, | |
'num_steps': num_steps}) | |
classifier.train(input_fn=train_input_fn) |
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PhraseId | SentenceId | Phrase | Sentiment | |
---|---|---|---|---|
1 | 1 | A series of escapades demonstrating the adage that what is good for the goose is also good for the gander , some of which occasionally amuses but none of which amounts to much of a story . | 1 | |
2 | 1 | A series of escapades demonstrating the adage that what is good for the goose | 2 | |
3 | 1 | A series | 2 | |
4 | 1 | A | 2 | |
5 | 1 | series | 2 | |
6 | 1 | of escapades demonstrating the adage that what is good for the goose | 2 | |
7 | 1 | of | 2 | |
8 | 1 | escapades demonstrating the adage that what is good for the goose | 2 | |
9 | 1 | escapades | 2 | |
10 | 1 | demonstrating the adage that what is good for the goose | 2 | |
11 | 1 | demonstrating the adage | 2 | |
12 | 1 | demonstrating | 2 | |
13 | 1 | the adage | 2 | |
14 | 1 | the | 2 | |
15 | 1 | adage | 2 | |
16 | 1 | that what is good for the goose | 2 | |
17 | 1 | that | 2 | |
18 | 1 | what is good for the goose | 2 | |
19 | 1 | what | 2 | |
20 | 1 | is good for the goose | 2 | |
21 | 1 | is | 2 | |
22 | 1 | good for the goose | 3 | |
23 | 1 | good | 3 | |
24 | 1 | for the goose | 2 | |
25 | 1 | for | 2 | |
26 | 1 | the goose | 2 | |
27 | 1 | goose | 2 | |
28 | 1 | is also good for the gander , some of which occasionally amuses but none of which amounts to much of a story . | 2 | |
29 | 1 | is also good for the gander , some of which occasionally amuses but none of which amounts to much of a story | 2 | |
30 | 1 | is also | 2 | |
31 | 1 | also | 2 | |
32 | 1 | good for the gander , some of which occasionally amuses but none of which amounts to much of a story | 2 | |
33 | 1 | for the gander , some of which occasionally amuses but none of which amounts to much of a story | 2 | |
34 | 1 | the gander , some of which occasionally amuses but none of which amounts to much of a story | 1 | |
35 | 1 | the gander , | 2 | |
36 | 1 | the gander | 2 | |
37 | 1 | gander | 2 | |
38 | 1 | , | 2 | |
39 | 1 | some of which occasionally amuses but none of which amounts to much of a story | 2 | |
40 | 1 | some of which | 2 | |
41 | 1 | some | 2 | |
42 | 1 | of which | 2 | |
43 | 1 | which | 2 | |
44 | 1 | occasionally amuses but none of which amounts to much of a story | 2 | |
45 | 1 | occasionally | 2 | |
46 | 1 | amuses but none of which amounts to much of a story | 2 | |
47 | 1 | amuses | 3 | |
48 | 1 | but none of which amounts to much of a story | 1 | |
49 | 1 | but | 2 | |
50 | 1 | none of which amounts to much of a story | 1 | |
51 | 1 | none | 2 | |
52 | 1 | of which amounts to much of a story | 2 | |
53 | 1 | which amounts to much of a story | 2 | |
54 | 1 | amounts to much of a story | 2 | |
55 | 1 | amounts | 2 | |
56 | 1 | to much of a story | 2 | |
57 | 1 | to | 2 | |
58 | 1 | much of a story | 2 | |
59 | 1 | much | 2 | |
60 | 1 | of a story | 2 | |
61 | 1 | a story | 2 | |
62 | 1 | story | 2 | |
63 | 1 | . | 2 | |
64 | 2 | This quiet , introspective and entertaining independent is worth seeking . | 4 | |
65 | 2 | This quiet , introspective and entertaining independent | 3 | |
66 | 2 | This | 2 | |
67 | 2 | quiet , introspective and entertaining independent | 4 | |
68 | 2 | quiet , introspective and entertaining | 3 | |
69 | 2 | quiet | 2 | |
70 | 2 | , introspective and entertaining | 3 | |
71 | 2 | introspective and entertaining | 3 | |
72 | 2 | introspective and | 3 | |
73 | 2 | introspective | 2 | |
74 | 2 | and | 2 | |
75 | 2 | entertaining | 4 | |
76 | 2 | independent | 2 | |
77 | 2 | is worth seeking . | 3 | |
78 | 2 | is worth seeking | 4 | |
79 | 2 | is worth | 2 | |
80 | 2 | worth | 2 | |
81 | 2 | seeking | 2 | |
82 | 3 | Even fans of Ismail Merchant 's work , I suspect , would have a hard time sitting through this one . | 1 | |
83 | 3 | Even fans of Ismail Merchant 's work | 2 | |
84 | 3 | Even fans | 2 | |
85 | 3 | Even | 2 | |
86 | 3 | fans | 3 | |
87 | 3 | of Ismail Merchant 's work | 2 | |
88 | 3 | Ismail Merchant 's work | 2 | |
89 | 3 | Ismail Merchant 's | 2 | |
90 | 3 | Ismail | 2 | |
91 | 3 | Merchant 's | 2 | |
92 | 3 | Merchant | 2 | |
93 | 3 | 's | 2 | |
94 | 3 | work | 2 | |
95 | 3 | , I suspect , would have a hard time sitting through this one . | 1 | |
96 | 3 | , I suspect , | 2 | |
97 | 3 | I suspect , | 2 | |
98 | 3 | I suspect | 2 | |
99 | 3 | I | 2 | |
100 | 3 | suspect | 2 | |
101 | 3 | would have a hard time sitting through this one . | 1 | |
102 | 3 | would have a hard time sitting through this one | 0 | |
103 | 3 | would | 2 | |
104 | 3 | have a hard time sitting through this one | 0 | |
105 | 3 | have | 2 | |
106 | 3 | a hard time sitting through this one | 1 | |
107 | 3 | a hard time | 1 | |
108 | 3 | hard time | 1 | |
109 | 3 | hard | 2 | |
110 | 3 | time | 2 | |
111 | 3 | sitting through this one | 1 | |
112 | 3 | sitting | 2 | |
113 | 3 | through this one | 2 | |
114 | 3 | through | 2 | |
115 | 3 | this one | 2 | |
116 | 3 | one | 2 | |
117 | 4 | A positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder of a Shakespearean tragedy or a juicy soap opera . | 3 | |
118 | 4 | A positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder of a Shakespearean tragedy or a juicy soap opera | 4 | |
119 | 4 | A positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder | 4 | |
120 | 4 | A positively thrilling combination | 3 | |
121 | 4 | positively thrilling combination | 3 | |
122 | 4 | positively | 3 | |
123 | 4 | thrilling combination | 3 | |
124 | 4 | thrilling | 4 | |
125 | 4 | combination | 2 | |
126 | 4 | of ethnography and all the intrigue , betrayal , deceit and murder | 2 | |
127 | 4 | ethnography and all the intrigue , betrayal , deceit and murder | 2 | |
128 | 4 | ethnography and | 2 | |
129 | 4 | ethnography | 2 | |
130 | 4 | all the intrigue , betrayal , deceit and murder | 2 | |
131 | 4 | all | 2 | |
132 | 4 | the intrigue , betrayal , deceit and murder | 1 | |
133 | 4 | intrigue , betrayal , deceit and murder | 2 | |
134 | 4 | intrigue | 3 | |
135 | 4 | , betrayal , deceit and murder | 2 | |
136 | 4 | betrayal , deceit and murder | 1 | |
137 | 4 | betrayal | 2 | |
138 | 4 | , deceit and murder | 1 | |
139 | 4 | deceit and murder | 1 | |
140 | 4 | deceit and | 2 | |
141 | 4 | deceit | 1 | |
142 | 4 | murder | 1 | |
143 | 4 | of a Shakespearean tragedy or a juicy soap opera | 2 | |
144 | 4 | a Shakespearean tragedy or a juicy soap opera | 2 | |
145 | 4 | a Shakespearean tragedy or | 2 | |
146 | 4 | a Shakespearean tragedy | 1 | |
147 | 4 | Shakespearean tragedy | 2 | |
148 | 4 | Shakespearean | 2 | |
149 | 4 | tragedy | 1 | |
150 | 4 | or | 2 | |
151 | 4 | a juicy soap opera | 3 | |
152 | 4 | juicy soap opera | 3 | |
153 | 4 | juicy | 3 | |
154 | 4 | soap opera | 1 | |
155 | 4 | soap | 2 | |
156 | 4 | opera | 2 | |
157 | 5 | Aggressive self-glorification and a manipulative whitewash . | 1 | |
158 | 5 | Aggressive self-glorification and a manipulative whitewash | 0 | |
159 | 5 | Aggressive | 2 | |
160 | 5 | self-glorification and a manipulative whitewash | 0 | |
161 | 5 | self-glorification and | 1 | |
162 | 5 | self-glorification | 2 | |
163 | 5 | a manipulative whitewash | 1 | |
164 | 5 | manipulative whitewash | 1 | |
165 | 5 | manipulative | 2 | |
166 | 5 | whitewash | 2 | |
167 | 6 | A comedy-drama of nearly epic proportions rooted in a sincere performance by the title character undergoing midlife crisis . | 4 | |
168 | 6 | A comedy-drama of nearly epic proportions | 3 | |
169 | 6 | A comedy-drama | 2 | |
170 | 6 | comedy-drama | 2 | |
171 | 6 | of nearly epic proportions | 3 | |
172 | 6 | nearly epic proportions | 2 | |
173 | 6 | nearly epic | 4 | |
174 | 6 | nearly | 2 | |
175 | 6 | epic | 3 | |
176 | 6 | proportions | 2 | |
177 | 6 | rooted in a sincere performance by the title character undergoing midlife crisis . | 4 | |
178 | 6 | rooted in a sincere performance by the title character undergoing midlife crisis | 3 | |
179 | 6 | rooted in a sincere performance | 3 | |
180 | 6 | rooted | 3 | |
181 | 6 | in a sincere performance | 4 | |
182 | 6 | in | 2 | |
183 | 6 | a sincere performance | 4 | |
184 | 6 | sincere performance | 4 | |
185 | 6 | sincere | 3 | |
186 | 6 | performance | 2 | |
187 | 6 | by the title character undergoing midlife crisis | 2 | |
188 | 6 | by | 2 | |
189 | 6 | the title character undergoing midlife crisis | 2 | |
190 | 6 | the title character | 2 | |
191 | 6 | title character | 2 | |
192 | 6 | title | 2 | |
193 | 6 | character | 2 | |
194 | 6 | undergoing midlife crisis | 2 | |
195 | 6 | undergoing | 2 | |
196 | 6 | midlife crisis | 1 | |
197 | 6 | midlife | 2 | |
198 | 6 | crisis | 2 | |
199 | 7 | Narratively , Trouble Every Day is a plodding mess . | 1 | |
200 | 7 | Narratively | 2 | |
201 | 7 | , Trouble Every Day is a plodding mess . | 1 | |
202 | 7 | Trouble Every Day is a plodding mess . | 0 | |
203 | 7 | Trouble Every Day | 2 | |
204 | 7 | Trouble | 1 | |
205 | 7 | Every Day | 2 | |
206 | 7 | Every | 2 | |
207 | 7 | Day | 2 | |
208 | 7 | is a plodding mess . | 1 | |
209 | 7 | is a plodding mess | 0 | |
210 | 7 | a plodding mess | 1 | |
211 | 7 | plodding mess | 0 | |
212 | 7 | plodding | 1 | |
213 | 7 | mess | 1 | |
214 | 8 | The Importance of Being Earnest , so thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 3 | |
215 | 8 | The Importance | 2 | |
216 | 8 | Importance | 3 | |
217 | 8 | of Being Earnest , so thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 2 | |
218 | 8 | Being Earnest , so thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 3 | |
219 | 8 | Being | 2 | |
220 | 8 | Earnest , so thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 2 | |
221 | 8 | Earnest , | 3 | |
222 | 8 | Earnest | 3 | |
223 | 8 | so thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 2 | |
224 | 8 | so | 2 | |
225 | 8 | thick with wit it plays like a reading from Bartlett 's Familiar Quotations | 3 | |
226 | 8 | thick | 2 | |
227 | 8 | with wit it plays like a reading from Bartlett 's Familiar Quotations | 3 | |
228 | 8 | with | 2 | |
229 | 8 | wit it plays like a reading from Bartlett 's Familiar Quotations | 2 | |
230 | 8 | wit | 2 | |
231 | 8 | it plays like a reading from Bartlett 's Familiar Quotations | 2 | |
232 | 8 | it | 2 | |
233 | 8 | plays like a reading from Bartlett 's Familiar Quotations | 3 | |
234 | 8 | plays | 2 | |
235 | 8 | like a reading from Bartlett 's Familiar Quotations | 2 | |
236 | 8 | like | 2 | |
237 | 8 | a reading from Bartlett 's Familiar Quotations | 2 | |
238 | 8 | a reading | 2 | |
239 | 8 | reading | 2 | |
240 | 8 | from Bartlett 's Familiar Quotations | 2 | |
241 | 8 | from | 2 | |
242 | 8 | Bartlett 's Familiar Quotations | 2 | |
243 | 8 | Bartlett 's | 2 | |
244 | 8 | Bartlett | 2 | |
245 | 8 | Familiar Quotations | 2 | |
246 | 8 | Familiar | 2 | |
247 | 8 | Quotations | 2 | |
248 | 9 | But it does n't leave you with much . | 1 | |
249 | 9 | it does n't leave you with much . | 1 | |
250 | 9 | does n't leave you with much . | 1 | |
251 | 9 | does n't leave you with much | 1 | |
252 | 9 | does n't | 1 | |
253 | 9 | does | 2 | |
254 | 9 | n't | 2 | |
255 | 9 | leave you with much | 2 | |
256 | 9 | leave you | 2 | |
257 | 9 | leave | 1 | |
258 | 9 | you | 2 | |
259 | 9 | with much | 2 | |
260 | 10 | You could hate it for the same reason . | 1 | |
261 | 10 | could hate it for the same reason . | 1 | |
262 | 10 | could hate it for the same reason | 0 | |
263 | 10 | could | 2 | |
264 | 10 | hate it for the same reason | 1 | |
265 | 10 | hate it | 0 | |
266 | 10 | hate | 0 | |
267 | 10 | for the same reason | 2 | |
268 | 10 | the same reason | 2 | |
269 | 10 | same reason | 2 | |
270 | 10 | same | 2 | |
271 | 10 | reason | 2 | |
272 | 11 | There 's little to recommend Snow Dogs , unless one considers cliched dialogue and perverse escapism a source of high hilarity . | 1 | |
273 | 11 | There | 2 | |
274 | 11 | 's little to recommend Snow Dogs , unless one considers cliched dialogue and perverse escapism a source of high hilarity . | 1 | |
275 | 11 | 's little to recommend Snow Dogs , unless one considers cliched dialogue and perverse escapism a source of high hilarity | 1 | |
276 | 11 | 's little to recommend Snow Dogs , | 1 | |
277 | 11 | 's little to recommend Snow Dogs | 1 | |
278 | 11 | little to recommend Snow Dogs | 2 | |
279 | 11 | little | 2 | |
280 | 11 | to recommend Snow Dogs | 2 | |
281 | 11 | recommend Snow Dogs | 4 | |
282 | 11 | recommend | 3 | |
283 | 11 | Snow Dogs | 2 | |
284 | 11 | Snow | 2 | |
285 | 11 | Dogs | 2 | |
286 | 11 | unless one considers cliched dialogue and perverse escapism a source of high hilarity | 1 | |
287 | 11 | unless | 2 | |
288 | 11 | one considers cliched dialogue and perverse escapism a source of high hilarity | 2 | |
289 | 11 | considers cliched dialogue and perverse escapism a source of high hilarity | 2 | |
290 | 11 | considers | 2 | |
291 | 11 | cliched dialogue and perverse escapism a source of high hilarity | 1 | |
292 | 11 | cliched dialogue and perverse escapism | 1 | |
293 | 11 | cliched dialogue and | 1 | |
294 | 11 | cliched dialogue | 1 | |
295 | 11 | cliched | 1 | |
296 | 11 | dialogue | 2 | |
297 | 11 | perverse escapism | 2 | |
298 | 11 | perverse | 1 | |
299 | 11 | escapism | 2 | |
300 | 11 | a source of high hilarity | 3 | |
301 | 11 | a source | 2 | |
302 | 11 | source | 2 | |
303 | 11 | of high hilarity | 3 | |
304 | 11 | high hilarity | 4 | |
305 | 11 | high | 3 | |
306 | 11 | hilarity | 3 | |
307 | 12 | Kung Pow is Oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that . | 1 | |
308 | 12 | Kung Pow | 2 | |
309 | 12 | Kung | 2 | |
310 | 12 | Pow | 3 | |
311 | 12 | is Oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that . | 2 | |
312 | 12 | is Oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that | 0 | |
313 | 12 | is Oedekerk 's realization of his childhood dream to be in a martial-arts flick , and | 2 | |
314 | 12 | is Oedekerk 's realization of his childhood dream to be in a martial-arts flick , | 2 | |
315 | 12 | is Oedekerk 's realization of his childhood dream to be in a martial-arts flick | 2 | |
316 | 12 | Oedekerk 's realization of his childhood dream to be in a martial-arts flick | 2 | |
317 | 12 | Oedekerk 's realization of his childhood dream | 2 | |
318 | 12 | Oedekerk 's realization | 2 | |
319 | 12 | Oedekerk 's | 2 | |
320 | 12 | Oedekerk | 2 | |
321 | 12 | realization | 2 | |
322 | 12 | of his childhood dream | 2 | |
323 | 12 | his childhood dream | 2 | |
324 | 12 | his | 2 | |
325 | 12 | childhood dream | 2 | |
326 | 12 | childhood | 2 | |
327 | 12 | dream | 3 | |
328 | 12 | to be in a martial-arts flick | 2 | |
329 | 12 | be in a martial-arts flick | 2 | |
330 | 12 | be | 2 | |
331 | 12 | in a martial-arts flick | 2 | |
332 | 12 | a martial-arts flick | 2 | |
333 | 12 | martial-arts flick | 2 | |
334 | 12 | martial-arts | 2 | |
335 | 12 | flick | 2 | |
336 | 12 | proves that sometimes the dreams of youth should remain just that | 1 | |
337 | 12 | proves | 2 | |
338 | 12 | that sometimes the dreams of youth should remain just that | 1 | |
339 | 12 | sometimes the dreams of youth should remain just that | 1 | |
340 | 12 | sometimes | 2 | |
341 | 12 | the dreams of youth should remain just that | 2 | |
342 | 12 | the dreams of youth | 3 | |
343 | 12 | the dreams | 2 | |
344 | 12 | dreams | 2 | |
345 | 12 | of youth | 2 | |
346 | 12 | youth | 2 | |
347 | 12 | should remain just that | 2 | |
348 | 12 | should | 2 | |
349 | 12 | remain just that | 2 | |
350 | 12 | remain | 2 | |
351 | 12 | just that | 2 | |
352 | 12 | just | 2 | |
353 | 13 | The performances are an absolute joy . | 4 | |
354 | 13 | The performances | 2 | |
355 | 13 | performances | 2 | |
356 | 13 | are an absolute joy . | 4 | |
357 | 13 | are an absolute joy | 3 | |
358 | 13 | are | 2 | |
359 | 13 | an absolute joy | 4 | |
360 | 13 | an | 2 | |
361 | 13 | absolute joy | 3 | |
362 | 13 | absolute | 2 | |
363 | 13 | joy | 4 | |
364 | 14 | Fresnadillo has something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense . | 3 | |
365 | 14 | Fresnadillo | 2 | |
366 | 14 | has something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense . | 3 | |
367 | 14 | has something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 3 | |
368 | 14 | has | 2 | |
369 | 14 | something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 3 | |
370 | 14 | something | 2 | |
371 | 14 | serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 2 | |
372 | 14 | serious | 2 | |
373 | 14 | to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 3 | |
374 | 14 | say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 2 | |
375 | 14 | say | 2 | |
376 | 14 | about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 2 | |
377 | 14 | about | 2 | |
378 | 14 | the ways in which extravagant chance can distort our perspective and throw us off the path of good sense | 1 | |
379 | 14 | the ways | 2 | |
380 | 14 | ways | 2 | |
381 | 14 | in which extravagant chance can distort our perspective and throw us off the path of good sense | 2 | |
382 | 14 | in which | 2 | |
383 | 14 | extravagant chance can distort our perspective and throw us off the path of good sense | 2 | |
384 | 14 | extravagant chance | 2 | |
385 | 14 | extravagant | 4 | |
386 | 14 | chance | 2 | |
387 | 14 | can distort our perspective and throw us off the path of good sense | 2 | |
388 | 14 | can | 2 | |
389 | 14 | distort our perspective and throw us off the path of good sense | 2 | |
390 | 14 | distort our perspective and | 2 | |
391 | 14 | distort our perspective | 2 | |
392 | 14 | distort | 2 | |
393 | 14 | our perspective | 2 | |
394 | 14 | our | 2 | |
395 | 14 | perspective | 2 | |
396 | 14 | throw us off the path of good sense | 2 | |
397 | 14 | throw us | 2 | |
398 | 14 | throw | 2 | |
399 | 14 | us | 3 | |
400 | 14 | off the path of good sense | 1 | |
401 | 14 | off | 1 | |
402 | 14 | the path of good sense | 2 | |
403 | 14 | the path | 2 | |
404 | 14 | path | 2 | |
405 | 14 | of good sense | 3 | |
406 | 14 | good sense | 3 | |
407 | 14 | sense | 2 | |
408 | 15 | I still like Moonlight Mile , better judgment be damned . | 3 | |
409 | 15 | still like Moonlight Mile , better judgment be damned . | 3 | |
410 | 15 | still | 2 | |
411 | 15 | like Moonlight Mile , better judgment be damned . | 2 | |
412 | 15 | like Moonlight Mile , better judgment be damned | 2 | |
413 | 15 | Moonlight Mile , better judgment be damned | 2 | |
414 | 15 | Moonlight Mile , better judgment | 2 | |
415 | 15 | Moonlight | 2 | |
416 | 15 | Mile , better judgment | 2 | |
417 | 15 | Mile | 2 | |
418 | 15 | , better judgment | 2 | |
419 | 15 | better judgment | 2 | |
420 | 15 | better | 4 | |
421 | 15 | judgment | 2 | |
422 | 15 | be damned | 2 | |
423 | 15 | damned | 1 | |
424 | 16 | A welcome relief from baseball movies that try too hard to be mythic , this one is a sweet and modest and ultimately winning story . | 3 | |
425 | 16 | A welcome relief from baseball movies that try too hard to be mythic | 3 | |
426 | 16 | A welcome relief | 3 | |
427 | 16 | welcome relief | 3 | |
428 | 16 | welcome | 2 | |
429 | 16 | relief | 2 | |
430 | 16 | from baseball movies that try too hard to be mythic | 1 | |
431 | 16 | baseball movies that try too hard to be mythic | 0 | |
432 | 16 | baseball movies | 2 | |
433 | 16 | baseball | 2 | |
434 | 16 | movies | 2 | |
435 | 16 | that try too hard to be mythic | 1 | |
436 | 16 | try too hard to be mythic | 1 | |
437 | 16 | try | 2 | |
438 | 16 | too hard to be mythic | 1 | |
439 | 16 | too | 2 | |
440 | 16 | hard to be mythic | 1 | |
441 | 16 | to be mythic | 2 | |
442 | 16 | be mythic | 2 | |
443 | 16 | mythic | 2 | |
444 | 16 | , this one is a sweet and modest and ultimately winning story . | 3 | |
445 | 16 | this one is a sweet and modest and ultimately winning story . | 4 | |
446 | 16 | is a sweet and modest and ultimately winning story . | 4 | |
447 | 16 | is a sweet and modest and ultimately winning story | 3 | |
448 | 16 | a sweet and modest and ultimately winning story | 3 | |
449 | 16 | a sweet and modest and | 3 | |
450 | 16 | a sweet and modest | 4 | |
451 | 16 | sweet and modest | 3 | |
452 | 16 | sweet and | 3 | |
453 | 16 | sweet | 4 | |
454 | 16 | modest | 3 | |
455 | 16 | ultimately winning story | 4 | |
456 | 16 | ultimately | 2 | |
457 | 16 | winning story | 3 | |
458 | 16 | winning | 3 | |
459 | 17 | a bilingual charmer , just like the woman who inspired it | 3 | |
460 | 17 | a bilingual charmer , | 3 | |
461 | 17 | a bilingual charmer | 3 | |
462 | 17 | bilingual charmer | 3 | |
463 | 17 | bilingual | 2 | |
464 | 17 | charmer | 3 | |
465 | 17 | just like the woman who inspired it | 2 | |
466 | 17 | like the woman who inspired it | 2 | |
467 | 17 | the woman who inspired it | 2 | |
468 | 17 | the woman | 2 | |
469 | 17 | woman | 2 | |
470 | 17 | who inspired it | 2 | |
471 | 17 | who | 2 | |
472 | 17 | inspired it | 2 | |
473 | 17 | inspired | 3 | |
474 | 18 | Like a less dizzily gorgeous companion to Mr. Wong 's In the Mood for Love -- very much a Hong Kong movie despite its mainland setting . | 2 | |
475 | 18 | Like a less dizzily gorgeous companion to Mr. | 3 | |
476 | 18 | a less dizzily gorgeous companion to Mr. | 2 | |
477 | 18 | a less dizzily gorgeous companion | 2 | |
478 | 18 | less dizzily gorgeous companion | 2 | |
479 | 18 | less dizzily gorgeous | 2 | |
480 | 18 | less | 2 | |
481 | 18 | dizzily gorgeous | 4 | |
482 | 18 | dizzily | 2 | |
483 | 18 | gorgeous | 3 | |
484 | 18 | companion | 3 | |
485 | 18 | to Mr. | 2 | |
486 | 18 | Mr. | 2 | |
487 | 18 | Wong 's In the Mood for Love -- very much a Hong Kong movie despite its mainland setting . | 2 | |
488 | 18 | Wong | 2 | |
489 | 18 | 's In the Mood for Love -- very much a Hong Kong movie despite its mainland setting . | 2 | |
490 | 18 | 's In the Mood for Love -- very much a Hong Kong movie despite its mainland setting | 2 | |
491 | 18 | 's In the Mood for Love -- very much a Hong Kong movie | 2 | |
492 | 18 | In the Mood for Love -- very much a Hong Kong movie | 3 | |
493 | 18 | the Mood for Love -- very much a Hong Kong movie | 2 | |
494 | 18 | the Mood | 3 | |
495 | 18 | Mood | 2 | |
496 | 18 | for Love -- very much a Hong Kong movie | 2 | |
497 | 18 | Love -- very much a Hong Kong movie | 3 | |
498 | 18 | Love -- very much | 4 | |
499 | 18 | Love -- | 3 | |
500 | 18 | Love | 4 | |
501 | 18 | -- | 2 | |
502 | 18 | very much | 2 | |
503 | 18 | very | 2 | |
504 | 18 | a Hong Kong movie | 2 | |
505 | 18 | Hong Kong movie | 2 | |
506 | 18 | Hong | 2 | |
507 | 18 | Kong movie | 2 | |
508 | 18 | Kong | 2 | |
509 | 18 | movie | 2 | |
510 | 18 | despite its mainland setting | 2 | |
511 | 18 | despite | 2 | |
512 | 18 | its mainland setting | 3 | |
513 | 18 | its | 2 | |
514 | 18 | mainland setting | 2 | |
515 | 18 | mainland | 2 | |
516 | 18 | setting | 2 | |
517 | 19 | As inept as big-screen remakes of The Avengers and The Wild Wild West . | 1 | |
518 | 19 | As inept as big-screen remakes of The Avengers and The Wild Wild West | 2 | |
519 | 19 | As inept | 1 | |
520 | 19 | As | 2 | |
521 | 19 | inept | 1 | |
522 | 19 | as big-screen remakes of The Avengers and The Wild Wild West | 1 | |
523 | 19 | big-screen remakes of The Avengers and The Wild Wild West | 2 | |
524 | 19 | big-screen remakes | 2 | |
525 | 19 | big-screen | 2 | |
526 | 19 | remakes | 2 | |
527 | 19 | of The Avengers and The Wild Wild West | 2 | |
528 | 19 | The Avengers and The Wild Wild West | 2 | |
529 | 19 | The Avengers and | 2 | |
530 | 19 | The Avengers | 2 | |
531 | 19 | Avengers | 2 | |
532 | 19 | The Wild Wild West | 3 | |
533 | 19 | Wild Wild West | 2 | |
534 | 19 | Wild | 3 | |
535 | 19 | Wild West | 2 | |
536 | 19 | West | 2 | |
537 | 20 | It 's everything you 'd expect -- but nothing more . | 2 | |
538 | 20 | 's everything you 'd expect -- but nothing more . | 1 | |
539 | 20 | 's everything you 'd expect -- but nothing more | 2 | |
540 | 20 | everything you 'd expect -- but nothing more | 1 | |
541 | 20 | everything | 2 | |
542 | 20 | you 'd expect -- but nothing more | 1 | |
543 | 20 | 'd expect -- but nothing more | 2 | |
544 | 20 | 'd | 2 | |
545 | 20 | expect -- but nothing more | 2 | |
546 | 20 | expect -- but nothing | 2 | |
547 | 20 | expect -- | 2 | |
548 | 20 | expect | 2 | |
549 | 20 | but nothing | 2 | |
550 | 20 | nothing | 1 | |
551 | 20 | more | 2 | |
552 | 21 | Best indie of the year , so far . | 4 | |
553 | 21 | Best | 4 | |
554 | 21 | indie of the year , so far . | 3 | |
555 | 21 | indie of the year , so far | 4 | |
556 | 21 | indie of the year , | 3 | |
557 | 21 | indie of the year | 3 | |
558 | 21 | indie | 2 | |
559 | 21 | of the year | 2 | |
560 | 21 | the year | 2 | |
561 | 21 | year | 2 | |
562 | 21 | so far | 2 | |
563 | 21 | far | 2 | |
564 | 22 | Hatfield and Hicks make the oddest of couples , and in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications . | 3 | |
565 | 22 | Hatfield and Hicks make the oddest of couples , and in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications | 3 | |
566 | 22 | Hatfield and Hicks make the oddest of couples , and | 2 | |
567 | 22 | Hatfield and Hicks make the oddest of couples , | 2 | |
568 | 22 | Hatfield and Hicks make the oddest of couples | 2 | |
569 | 22 | Hatfield and Hicks | 2 | |
570 | 22 | Hatfield and | 2 | |
571 | 22 | Hatfield | 2 | |
572 | 22 | Hicks | 2 | |
573 | 22 | make the oddest of couples | 2 | |
574 | 22 | make | 2 | |
575 | 22 | the oddest of couples | 2 | |
576 | 22 | the oddest | 2 | |
577 | 22 | oddest | 1 | |
578 | 22 | of couples | 2 | |
579 | 22 | couples | 2 | |
580 | 22 | in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications | 3 | |
581 | 22 | in this sense | 2 | |
582 | 22 | this sense | 2 | |
583 | 22 | the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications | 2 | |
584 | 22 | the movie | 2 | |
585 | 22 | becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications | 2 | |
586 | 22 | becomes a study of the gambles of the publishing world , | 2 | |
587 | 22 | becomes a study of the gambles of the publishing world | 2 | |
588 | 22 | becomes | 2 | |
589 | 22 | a study of the gambles of the publishing world | 2 | |
590 | 22 | a study | 2 | |
591 | 22 | study | 2 | |
592 | 22 | of the gambles of the publishing world | 2 | |
593 | 22 | the gambles of the publishing world | 2 | |
594 | 22 | the gambles | 2 | |
595 | 22 | gambles | 2 | |
596 | 22 | of the publishing world | 2 | |
597 | 22 | the publishing world | 2 | |
598 | 22 | publishing world | 2 | |
599 | 22 | publishing | 2 | |
600 | 22 | world | 2 | |
601 | 22 | offering a case study that exists apart from all the movie 's political ramifications | 2 | |
602 | 22 | offering | 2 | |
603 | 22 | a case study that exists apart from all the movie 's political ramifications | 3 | |
604 | 22 | a case study | 2 | |
605 | 22 | case study | 2 | |
606 | 22 | case | 2 | |
607 | 22 | that exists apart from all the movie 's political ramifications | 2 | |
608 | 22 | exists apart from all the movie 's political ramifications | 2 | |
609 | 22 | exists apart | 2 | |
610 | 22 | exists | 2 | |
611 | 22 | apart | 2 | |
612 | 22 | from all the movie 's political ramifications | 2 | |
613 | 22 | all the movie 's political ramifications | 2 | |
614 | 22 | the movie 's political ramifications | 2 | |
615 | 22 | the movie 's | 2 | |
616 | 22 | movie 's | 2 | |
617 | 22 | political ramifications | 2 | |
618 | 22 | political | 2 | |
619 | 22 | ramifications | 2 | |
620 | 23 | It 's like going to a house party and watching the host defend himself against a frothing ex-girlfriend . | 1 | |
621 | 23 | 's like going to a house party and watching the host defend himself against a frothing ex-girlfriend . | 1 | |
622 | 23 | 's like going to a house party and watching the host defend himself against a frothing ex-girlfriend | 1 | |
623 | 23 | like going to a house party and watching the host defend himself against a frothing ex-girlfriend | 1 | |
624 | 23 | going to a house party and watching the host defend himself against a frothing ex-girlfriend | 1 | |
625 | 23 | going to a house party and | 2 | |
626 | 23 | going to a house party | 2 | |
627 | 23 | going | 2 | |
628 | 23 | to a house party | 2 | |
629 | 23 | a house party | 2 | |
630 | 23 | house party | 2 | |
631 | 23 | house | 2 | |
632 | 23 | party | 2 | |
633 | 23 | watching the host defend himself against a frothing ex-girlfriend | 2 | |
634 | 23 | watching | 2 | |
635 | 23 | the host defend himself against a frothing ex-girlfriend | 2 | |
636 | 23 | the host | 2 | |
637 | 23 | host | 2 | |
638 | 23 | defend himself against a frothing ex-girlfriend | 2 | |
639 | 23 | defend himself | 3 | |
640 | 23 | defend | 2 | |
641 | 23 | himself | 2 | |
642 | 23 | against a frothing ex-girlfriend | 2 | |
643 | 23 | against | 2 | |
644 | 23 | a frothing ex-girlfriend | 2 | |
645 | 23 | frothing ex-girlfriend | 2 | |
646 | 23 | frothing | 1 | |
647 | 23 | ex-girlfriend | 2 | |
648 | 24 | That the Chuck Norris `` grenade gag '' occurs about 7 times during Windtalkers is a good indication of how serious-minded the film is . | 2 | |
649 | 24 | That the Chuck Norris `` grenade gag '' | 2 | |
650 | 24 | the Chuck Norris `` grenade gag '' | 2 | |
651 | 24 | Chuck Norris `` grenade gag '' | 2 | |
652 | 24 | Chuck | 2 | |
653 | 24 | Norris `` grenade gag '' | 2 | |
654 | 24 | Norris | 2 | |
655 | 24 | `` grenade gag '' | 2 | |
656 | 24 | `` | 2 | |
657 | 24 | grenade gag '' | 2 | |
658 | 24 | grenade | 1 | |
659 | 24 | gag '' | 2 | |
660 | 24 | gag | 1 | |
661 | 24 | '' | 2 | |
662 | 24 | occurs about 7 times during Windtalkers is a good indication of how serious-minded the film is . | 2 | |
663 | 24 | occurs about 7 times during Windtalkers is a good indication of how serious-minded the film is | 3 | |
664 | 24 | occurs | 2 | |
665 | 24 | about 7 times during Windtalkers is a good indication of how serious-minded the film is | 2 | |
666 | 24 | about 7 times during Windtalkers | 2 | |
667 | 24 | about 7 times | 2 | |
668 | 24 | 7 times | 2 | |
669 | 24 | 7 | 2 | |
670 | 24 | times | 2 | |
671 | 24 | during Windtalkers | 2 | |
672 | 24 | during | 2 | |
673 | 24 | Windtalkers | 2 | |
674 | 24 | is a good indication of how serious-minded the film is | 3 | |
675 | 24 | a good indication of how serious-minded the film is | 3 | |
676 | 24 | a good indication | 3 | |
677 | 24 | good indication | 3 | |
678 | 24 | indication | 2 | |
679 | 24 | of how serious-minded the film is | 2 | |
680 | 24 | how serious-minded the film is | 3 | |
681 | 24 | how | 2 | |
682 | 24 | serious-minded the film is | 2 | |
683 | 24 | serious-minded the film | 3 | |
684 | 24 | serious-minded | 2 | |
685 | 24 | the film | 2 | |
686 | 24 | film | 2 | |
687 | 25 | The plot is romantic comedy boilerplate from start to finish . | 2 | |
688 | 25 | The plot | 2 | |
689 | 25 | plot | 2 | |
690 | 25 | is romantic comedy boilerplate from start to finish . | 2 | |
691 | 25 | is romantic comedy boilerplate from start to finish | 3 | |
692 | 25 | romantic comedy boilerplate from start to finish | 2 | |
693 | 25 | romantic comedy boilerplate from start | 2 | |
694 | 25 | romantic comedy boilerplate | 1 | |
695 | 25 | romantic | 2 | |
696 | 25 | comedy boilerplate | 2 | |
697 | 25 | comedy | 3 | |
698 | 25 | boilerplate | 2 | |
699 | 25 | from start | 2 | |
700 | 25 | start | 2 | |
701 | 25 | to finish | 2 | |
702 | 25 | finish | 2 | |
703 | 26 | It arrives with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications . | 2 | |
704 | 26 | arrives with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications . | 2 | |
705 | 26 | arrives with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications | 2 | |
706 | 26 | arrives | 2 | |
707 | 26 | with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications | 2 | |
708 | 26 | an impeccable pedigree , mongrel pep , and almost indecipherable plot complications | 1 | |
709 | 26 | an impeccable pedigree , mongrel pep , and almost | 2 | |
710 | 26 | an impeccable pedigree , mongrel pep , and | 2 | |
711 | 26 | an impeccable pedigree , mongrel pep , | 2 | |
712 | 26 | an impeccable pedigree , mongrel pep | 3 | |
713 | 26 | impeccable pedigree , mongrel pep | 3 | |
714 | 26 | impeccable | 4 | |
715 | 26 | pedigree , mongrel pep | 2 | |
716 | 26 | pedigree | 2 | |
717 | 26 | , mongrel pep | 2 | |
718 | 26 | mongrel pep | 2 | |
719 | 26 | mongrel | 1 | |
720 | 26 | pep | 2 | |
721 | 26 | almost | 2 | |
722 | 26 | indecipherable plot complications | 1 | |
723 | 26 | indecipherable | 2 | |
724 | 26 | plot complications | 2 | |
725 | 26 | complications | 1 | |
726 | 27 | A film that clearly means to preach exclusively to the converted . | 2 | |
727 | 27 | A film that clearly means to | 2 | |
728 | 27 | A film | 2 | |
729 | 27 | that clearly means to | 2 | |
730 | 27 | clearly means to | 2 | |
731 | 27 | clearly | 2 | |
732 | 27 | means to | 2 | |
733 | 27 | means | 2 | |
734 | 27 | preach exclusively to the converted . | 1 | |
735 | 27 | preach exclusively to the converted | 2 | |
736 | 27 | preach exclusively | 2 | |
737 | 27 | preach | 2 | |
738 | 27 | exclusively | 2 | |
739 | 27 | to the converted | 2 | |
740 | 27 | the converted | 2 | |
741 | 27 | converted | 2 | |
742 | 28 | While The Importance of Being Earnest offers opportunities for occasional smiles and chuckles , it does n't give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances . | 1 | |
743 | 28 | While The Importance of Being Earnest offers opportunities for occasional smiles and chuckles | 3 | |
744 | 28 | While | 2 | |
745 | 28 | The Importance of Being Earnest offers opportunities for occasional smiles and chuckles | 3 | |
746 | 28 | The Importance of Being Earnest | 3 | |
747 | 28 | of Being Earnest | 2 | |
748 | 28 | Being Earnest | 2 | |
749 | 28 | offers opportunities for occasional smiles and chuckles | 2 | |
750 | 28 | offers opportunities for occasional smiles and | 3 | |
751 | 28 | offers opportunities for occasional smiles | 3 | |
752 | 28 | offers | 2 | |
753 | 28 | opportunities for occasional smiles | 2 | |
754 | 28 | opportunities | 2 | |
755 | 28 | for occasional smiles | 3 | |
756 | 28 | occasional smiles | 3 | |
757 | 28 | occasional | 2 | |
758 | 28 | smiles | 2 | |
759 | 28 | chuckles | 1 | |
760 | 28 | , it does n't give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances . | 2 | |
761 | 28 | it does n't give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances . | 2 | |
762 | 28 | does n't give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances . | 2 | |
763 | 28 | does n't give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances | 1 | |
764 | 28 | give us a reason to be in the theater beyond Wilde 's wit and the actors ' performances | 1 | |
765 | 28 | give us | 2 | |
766 | 28 | give | 3 | |
767 | 28 | a reason to be in the theater beyond Wilde 's wit and the actors ' performances | 2 | |
768 | 28 | reason to be in the theater beyond Wilde 's wit and the actors ' performances | 2 | |
769 | 28 | to be in the theater beyond Wilde 's wit and the actors ' performances | 2 | |
770 | 28 | be in the theater beyond Wilde 's wit and the actors ' performances | 2 | |
771 | 28 | be in the theater | 2 | |
772 | 28 | in the theater | 2 | |
773 | 28 | the theater | 2 | |
774 | 28 | theater | 3 | |
775 | 28 | beyond Wilde 's wit and the actors ' performances | 2 | |
776 | 28 | beyond | 2 | |
777 | 28 | Wilde 's wit and the actors ' performances | 2 | |
778 | 28 | Wilde 's wit and | 3 | |
779 | 28 | Wilde 's wit | 2 | |
780 | 28 | Wilde 's | 2 | |
781 | 28 | Wilde | 2 | |
782 | 28 | the actors ' performances | 2 | |
783 | 28 | the actors ' | 2 | |
784 | 28 | actors ' | 2 | |
785 | 28 | actors | 2 | |
786 | 28 | ' | 2 | |
787 | 29 | The latest vapid actor 's exercise to appropriate the structure of Arthur Schnitzler 's Reigen . | 1 | |
788 | 29 | The latest | 2 | |
789 | 29 | latest | 2 | |
790 | 29 | vapid actor 's exercise to appropriate the structure of Arthur Schnitzler 's Reigen . | 2 | |
791 | 29 | vapid actor 's exercise to appropriate the structure of Arthur Schnitzler 's Reigen | 1 | |
792 | 29 | vapid actor 's exercise | 1 | |
793 | 29 | vapid | 1 | |
794 | 29 | actor 's exercise | 2 | |
795 | 29 | actor 's | 2 | |
796 | 29 | actor | 2 | |
797 | 29 | exercise | 2 | |
798 | 29 | to appropriate the structure of Arthur Schnitzler 's Reigen | 2 | |
799 | 29 | appropriate the structure of Arthur Schnitzler 's Reigen | 2 | |
800 | 29 | appropriate the structure | 2 | |
801 | 29 | appropriate | 3 | |
802 | 29 | the structure | 2 | |
803 | 29 | structure | 2 | |
804 | 29 | of Arthur Schnitzler 's Reigen | 2 | |
805 | 29 | Arthur Schnitzler 's Reigen | 3 | |
806 | 29 | Arthur Schnitzler 's | 2 | |
807 | 29 | Arthur | 2 | |
808 | 29 | Schnitzler 's | 2 | |
809 | 29 | Schnitzler | 2 | |
810 | 29 | Reigen | 2 | |
811 | 30 | More vaudeville show than well-constructed narrative , but on those terms it 's inoffensive and actually rather sweet . | 2 | |
812 | 30 | More vaudeville show than well-constructed narrative , but on those terms it 's inoffensive and actually rather sweet | 3 | |
813 | 30 | More vaudeville show than well-constructed narrative , but | 2 | |
814 | 30 | More vaudeville show than well-constructed narrative , | 1 | |
815 | 30 | More vaudeville show than well-constructed narrative | 1 | |
816 | 30 | More vaudeville | 2 | |
817 | 30 | vaudeville | 2 | |
818 | 30 | show than well-constructed narrative | 3 | |
819 | 30 | show | 2 | |
820 | 30 | than well-constructed narrative | 3 | |
821 | 30 | than | 2 | |
822 | 30 | well-constructed narrative | 4 | |
823 | 30 | well-constructed | 3 | |
824 | 30 | narrative | 2 | |
825 | 30 | on those terms it 's inoffensive and actually rather sweet | 3 | |
826 | 30 | on those terms | 2 | |
827 | 30 | on | 2 | |
828 | 30 | those terms | 2 | |
829 | 30 | those | 2 | |
830 | 30 | terms | 2 | |
831 | 30 | it 's inoffensive and actually rather sweet | 3 | |
832 | 30 | 's inoffensive and actually rather sweet | 3 | |
833 | 30 | inoffensive and actually rather sweet | 3 | |
834 | 30 | inoffensive and actually | 2 | |
835 | 30 | inoffensive and | 2 | |
836 | 30 | inoffensive | 1 | |
837 | 30 | actually | 2 | |
838 | 30 | rather sweet | 3 | |
839 | 30 | rather | 2 | |
840 | 31 | Nothing more than a run-of-the-mill action flick . | 2 | |
841 | 31 | more than a run-of-the-mill action flick . | 2 | |
842 | 31 | more than a run-of-the-mill action | 3 | |
843 | 31 | than a run-of-the-mill action | 2 | |
844 | 31 | a run-of-the-mill action | 2 | |
845 | 31 | run-of-the-mill action | 1 | |
846 | 31 | run-of-the-mill | 1 | |
847 | 31 | action | 2 | |
848 | 31 | flick . | 2 | |
849 | 32 | Hampered -- no , paralyzed -- by a self-indulgent script ... that aims for poetry and ends up sounding like satire . | 0 | |
850 | 32 | Hampered -- no , paralyzed -- by a self-indulgent script ... that aims for poetry and ends up sounding like satire | 1 | |
851 | 32 | Hampered -- no , paralyzed -- by a self-indulgent script ... | 1 | |
852 | 32 | Hampered -- no , paralyzed -- by a self-indulgent script | 1 | |
853 | 32 | Hampered -- no , paralyzed -- | 2 | |
854 | 32 | Hampered | 2 | |
855 | 32 | -- no , paralyzed -- | 2 | |
856 | 32 | no , paralyzed -- | 2 | |
857 | 32 | no , paralyzed | 1 | |
858 | 32 | no | 1 | |
859 | 32 | , paralyzed | 1 | |
860 | 32 | paralyzed | 2 | |
861 | 32 | by a self-indulgent script | 1 | |
862 | 32 | a self-indulgent script | 0 | |
863 | 32 | self-indulgent script | 2 | |
864 | 32 | self-indulgent | 1 | |
865 | 32 | script | 2 | |
866 | 32 | ... | 2 | |
867 | 32 | that aims for poetry and ends up sounding like satire | 1 | |
868 | 32 | aims for poetry and ends up sounding like satire | 1 | |
869 | 32 | aims for poetry and | 2 | |
870 | 32 | aims for poetry | 2 | |
871 | 32 | aims | 2 | |
872 | 32 | for poetry | 2 | |
873 | 32 | poetry | 3 | |
874 | 32 | ends up sounding like satire | 1 | |
875 | 32 | ends up | 2 | |
876 | 32 | ends | 2 | |
877 | 32 | up | 2 | |
878 | 32 | sounding like satire | 2 | |
879 | 32 | sounding | 3 | |
880 | 32 | like satire | 2 | |
881 | 32 | satire | 2 | |
882 | 33 | Ice Age is the first computer-generated feature cartoon to feel like other movies , and that makes for some glacial pacing early on . | 2 | |
883 | 33 | Ice Age is the first computer-generated feature cartoon to feel like other movies , and that makes for some glacial pacing early on | 2 | |
884 | 33 | Ice Age is the first computer-generated feature cartoon to feel like other movies , and | 3 | |
885 | 33 | Ice Age is the first computer-generated feature cartoon to feel like other movies , | 2 | |
886 | 33 | Ice Age is the first computer-generated feature cartoon to feel like other movies | 3 | |
887 | 33 | Ice Age | 2 | |
888 | 33 | Ice | 2 | |
889 | 33 | Age | 2 | |
890 | 33 | is the first computer-generated feature cartoon to feel like other movies | 3 | |
891 | 33 | the first computer-generated feature cartoon to feel like other movies | 4 | |
892 | 33 | the first computer-generated feature cartoon | 2 | |
893 | 33 | first computer-generated feature cartoon | 3 | |
894 | 33 | first | 2 | |
895 | 33 | computer-generated feature cartoon | 2 | |
896 | 33 | computer-generated | 2 | |
897 | 33 | feature cartoon | 2 | |
898 | 33 | feature | 2 | |
899 | 33 | cartoon | 2 | |
900 | 33 | to feel like other movies | 3 | |
901 | 33 | feel like other movies | 2 | |
902 | 33 | feel | 2 | |
903 | 33 | like other movies | 2 | |
904 | 33 | other movies | 2 | |
905 | 33 | other | 2 | |
906 | 33 | that makes for some glacial pacing early on | 2 | |
907 | 33 | makes for some glacial pacing early on | 1 | |
908 | 33 | makes for some glacial pacing | 1 | |
909 | 33 | makes | 2 | |
910 | 33 | for some glacial pacing | 2 | |
911 | 33 | some glacial pacing | 2 | |
912 | 33 | glacial pacing | 2 | |
913 | 33 | glacial | 2 | |
914 | 33 | pacing | 2 | |
915 | 33 | early on | 2 | |
916 | 33 | early | 2 | |
917 | 34 | There 's very little sense to what 's going on here , but the makers serve up the cliches with considerable dash . | 2 | |
918 | 34 | There 's very little sense to what 's going on here , but the makers serve up the cliches with considerable dash | 1 | |
919 | 34 | There 's very little sense to what 's going on here , but | 1 | |
920 | 34 | There 's very little sense to what 's going on here , | 0 | |
921 | 34 | There 's very little sense to what 's going on here | 1 | |
922 | 34 | 's very little sense to what 's going on here | 1 | |
923 | 34 | very little sense to what 's going on here | 1 | |
924 | 34 | very little sense | 1 | |
925 | 34 | very little | 2 | |
926 | 34 | to what 's going on here | 2 | |
927 | 34 | what 's going on here | 1 | |
928 | 34 | 's going on here | 2 | |
929 | 34 | going on here | 2 | |
930 | 34 | going on | 2 | |
931 | 34 | here | 2 | |
932 | 34 | the makers serve up the cliches with considerable dash | 2 | |
933 | 34 | the makers | 2 | |
934 | 34 | makers | 2 | |
935 | 34 | serve up the cliches with considerable dash | 2 | |
936 | 34 | serve up | 2 | |
937 | 34 | serve | 2 | |
938 | 34 | the cliches with considerable dash | 1 | |
939 | 34 | the cliches | 1 | |
940 | 34 | cliches | 2 | |
941 | 34 | with considerable dash | 2 | |
942 | 34 | considerable dash | 2 | |
943 | 34 | considerable | 3 | |
944 | 34 | dash | 2 | |
945 | 35 | Cattaneo should have followed the runaway success of his first film , The Full Monty , with something different . | 2 | |
946 | 35 | Cattaneo | 2 | |
947 | 35 | should have followed the runaway success of his first film , The Full Monty , with something different . | 2 | |
948 | 35 | should have followed the runaway success of his first film , The Full Monty , with something different | 2 | |
949 | 35 | have followed the runaway success of his first film , The Full Monty , with something different | 2 | |
950 | 35 | followed the runaway success of his first film , The Full Monty , with something different | 2 | |
951 | 35 | followed the runaway success of his first film , The Full Monty , | 3 | |
952 | 35 | followed | 2 | |
953 | 35 | the runaway success of his first film , The Full Monty , | 4 | |
954 | 35 | the runaway success | 4 | |
955 | 35 | runaway success | 3 | |
956 | 35 | runaway | 2 | |
957 | 35 | success | 3 | |
958 | 35 | of his first film , The Full Monty , | 1 | |
959 | 35 | his first film , The Full Monty , | 2 | |
960 | 35 | his first film , The Full Monty | 2 | |
961 | 35 | his first film , | 2 | |
962 | 35 | his first film | 2 | |
963 | 35 | first film | 2 | |
964 | 35 | The Full Monty | 2 | |
965 | 35 | Full Monty | 2 | |
966 | 35 | Full | 3 | |
967 | 35 | Monty | 2 | |
968 | 35 | with something different | 2 | |
969 | 35 | something different | 3 | |
970 | 35 | different | 2 | |
971 | 36 | They 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid . | 1 | |
972 | 36 | They | 2 | |
973 | 36 | 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid . | 1 | |
974 | 36 | 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid | 2 | |
975 | 36 | 're | 2 | |
976 | 36 | the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid | 1 | |
977 | 36 | the unnamed , easily substitutable forces | 1 | |
978 | 36 | unnamed , easily substitutable forces | 2 | |
979 | 36 | unnamed , easily substitutable | 1 | |
980 | 36 | unnamed | 2 | |
981 | 36 | , easily substitutable | 1 | |
982 | 36 | easily substitutable | 2 | |
983 | 36 | easily | 3 | |
984 | 36 | substitutable | 1 | |
985 | 36 | forces | 2 | |
986 | 36 | that serve as whatever terror the heroes of horror movies try to avoid | 2 | |
987 | 36 | serve as whatever terror the heroes of horror movies try to avoid | 2 | |
988 | 36 | as whatever terror the heroes of horror movies try to avoid | 2 | |
989 | 36 | whatever terror the heroes of horror movies try to avoid | 1 | |
990 | 36 | whatever | 1 | |
991 | 36 | terror the heroes of horror movies try to avoid | 1 | |
992 | 36 | terror | 1 | |
993 | 36 | the heroes of horror movies try to avoid | 1 | |
994 | 36 | the heroes of horror movies | 2 | |
995 | 36 | the heroes | 2 | |
996 | 36 | heroes | 3 | |
997 | 36 | of horror movies | 2 | |
998 | 36 | horror movies | 2 |
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