In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

Ex Input:
Review: I actually intended to see this movie in the theatre. It was actually sold out. I actually went to see Solaris instead, which actually was the worst movie to be released in 2002.Victor Rosa (John Leguizamo), a tough, streetwise 'street pharmacist', freaks out when he sees a kid get shot, so he decides to go clean and invest all of his money with Jack (Peter Sarsgaard). Things seem to be going pretty well until Jack skips town with his girlfriend Trish (Denise Richards). This happened very late in the movie, so had they not revealed this in the preview, it might have been an interesting twist. But they did, so it's not.In fact, there's not a single interesting thing about this movie; everything is given away in the preview. If you saw even one preview, you saw the whole movie, so you might just want to think really hard to fill in the gaps. Go to the website, download the preview, save yourself $3.99. There is not a single surprise or twist in the entire film, other than how terrible the soundtrack is.I hope that whoever was in charge of writing the soundtrack was fired. Twice. Most of it is what music would be like if the only songs allowed to be released were Ricky Martin and Gloria Estefan duets, and (I may shatter the fabric of the space-time continuum with a concept as mind-numbing as this) they both had less talent and musical ability.The acting is at best poor, the script is at best a crime against humanity, and Denise Richards is at best 67% styrofoam and 33% ziploc bag. You know things are bad when John Leguizamo (he was in The Pest!) upstages the rest of the cast with his acting abilities. Question: is it a negative review?

Ex Output:
yes


Ex Input:
Review: This couldn't have been better. The strong restraints on Mike Sullivan's expressions couldn't have been portrayed in any other way. Tom Hanks delivers the best performance of his career. Young Tyler Hoechlin drives an emotional wheel; playing the basis character for the story. And veteran Paul Newman gives one of his best character performances in a long time.This film is based on a bold graphic novel by Max Allan Collins and Richard Piers Rayner. This is a father/son story which basically employs the two candidates solely unfit for the roles. Mike Sullivan had no father as a child, so John Rooney took him in. Although a generous man, Mr. Rooney involved himself in organized crime. Therefore, the debt of Sullivan was only to be paid off in involving himself in the business. Now, Sullivan has a wife and two children and is trying to keep his children safe, but at the same time pay back his boss. The events to follow, will test Sullivan's loyalty and embrace his family's fate.With a great adaptation by David Self, the dialogue comes out seldomly, but yet very virtuous. The story unfolds in a beautiful 1930's setting (Brilliant Art Direction by Richard L. Johnson & Nancy Haigh) covered with a dark rainy (snow on the ground) exterior. Driving the story, is Thomas Newman's wonderful Irish score, settling in only when necessary.But the most important technical element in the film is Conrad L. Hall's beautiful photography. This is some of the best cinematography I've seen; and I watch a lot of films. The scene when Mike and Michael are in the car, entering Chicago is quite impressive. The shot starts at the front of the car, revealing Mike(Hanks) through the windshield. It subsequently dollys around to the side of the car, to see Michael(Hoechlin) awakening and peering out his side window. As it continues, it trucks sideways and dollys back, completely around the car and reveals a gorgeous scenic 1930's Chicago.With a great cast and crew, the principle man creates a brazenly amazing film. I'm talking about Sam Mendes, who made his feature film debut in 1999 with American Beauty. (won him various awards) Before American Beauty, Mendes worked as a play director for the British Theater, but decided that he wanted to move on saying that there was nothing new for him in theater. With only two films, Sam Mendes has marked himself in my book as one of the great directors (In a list of about twenty-five).The film illuminates a brazen genre that has its hits and misses and expresses the true theme brilliantly. The photography, acting and story is phenominal. I'm still waiting for Scorcesee's Gangs of New York, but for now, I'm fully confident in saying that this is the "Best Film of the Year". Considering it's competition (Signs, Insomnia, Minority Report) thats a strong statement. Question: is it a negative review?

Ex Output:
no


Ex Input:
Review: Wow! So much fun! Probably a bit much for normal American kids, and really it's a stretch to call this a kid's film, this movie reminded me a quite a bit of Time Bandits - very Terry Gilliam all the way through. While the overall narrative is pretty much straight forward, Miike still throws in A LOT of surreal and Bunuel-esquire moments. The whole first act violently juxtaposes from scene to scene the normal family life of the main kid/hero, with the spirit world and the evil than is ensuing therein. And while the ending does have a bit of an ambiguous aspect that are common of Miike's work, the layers of meaning and metaphor, particularly the anti-war / anti-revenge message of human folly, is pretty damn poignant. As manic and imaginatively fun as other great Miike films, only instead of over the top torture and gore, he gives us an endless amount of monsters and yokai from Japanese folk-lore creatively conceived via CG and puppetry wrapped into an imaginative multi-faceted adventure. F'n rad, and one of Miike's best! Question: is it a positive review?

Ex Output:

yes