In this task, you must classify if a given review is positive/negative, indicating your answer as P or N.

[EX Q]: in the opening shot of midnight cowboy , we see a close - up of a blank movie screen at a drive - in .
we hear in the soundtrack human cries and the stomping of horses ' hooves .
without an image projected onto the screen , the audience unerringly identifies the familiar sound of cowboys chasing indians and can spontaneously fill in the blank screen with images of old westerns in our mind 's eye .
even without having seen a cowboys and indians movie , somehow the cliched images of them seem to have found their way into our mental schema .
but do cowboys really exist , or
are they merely hollywood images personified by john wayne and gary cooper ?
exploring this theme , director john schlesinger uses the idea of the cowboy as a metaphor for the american dream , an equally cliched yet ambiguous concept .
is the ease at which salvation and success can be attained in america a hallmark of its experience or an urban legend ?
midnight cowboy suggests that the american dream , like image of the cowboy , is merely a myth .
as joe buck migrates from place to place , he finds neither redemption nor reward in his attempt to create a life for himself , only further degeneration .
during the opening credits , joe walks past an abandoned theater whose decrepit marquee reads ` john wayne : the alamo . '
as joe is on the bus listening to a radio talk show , a lady on the air describes her ideal man as ` gary cooper ?
but he 's dead . '
a troubled expression comes across joe 's face , as he wonders where have all the cowboys gone .
having adopted the image of a cowboy since youth , joe now finds himself deserted by the persona he tried to embody .
joe 's persistence in playing the act of the cowboy serves as an analogue to his american dream .
he romanticizes about making it in the big city , but his dreams will desert him as he is forced to compromise his ideals for sustenance .
by the end of midnight cowboy , joe buck loses everything and gains nothing .
just as the audience can picture cowboys chasing indians on a blank screen , we can also conjure up scenes from pretty woman as paradigms of american redemption and success .
but how realistic are these ideals ?
joe had raped and been raped in texas .
the scars of his troubled past prompt him to migrate to new york , but he does not know that his aspirations to be a cowboy hero will fail him there just as they had in texas .
alongside the dream of success is the dream of salvation .
the ability to pack up one 's belongings and start anew seems to be an exclusive american convention .
schlesinger provides us with strong hints as to joe 's abusive and abused past with flashbacks of improper relationships with crazy anne and granny .
we understand that joe adopts the fa ?
ade of a cowboy , a symbol of virility and gallantry , as an attempt to neutralize his shame .
he runs from his past only to be sexually defiled this time by his homosexual experiences in new york .
in the scene at the diner which foreshadows joe 's encounter with the gay student , joe buck spills ketchup on himself .
standing up , we see the ketchup has made a red stain running from the crotch of his pants down his thigh .
schlesinger visually depicts the degeneration of joe 's virility by eliciting an image of bleeding genitals , signifying emasculation .
beyond the symbol of castration , the scene may also connote the bleeding of a virgin 's first sexual encounter , a reference to joe 's first homosexual liaison .
the fact that the idea of a bleeding virgin is relegated only to females furthers the imagery of joe 's emasculation .
it is ironic that joe has trouble prospecting for female clients , but effortlessly attracts men .
joe believes his broncobuster getup is emblematic of his masculinity ; new yorkers see his ensemble as camp and ` faggot stuff . '
there are two predominant images of new york .
the first is that new york is the rich , cosmopolitan city where hope and opportunity are symbolized by the tall skyscrapers and the statue of liberty .
the other new york is travis bickle 's new york , a seedy , corruptive hell on earth .
joe envisions new york as the former , but is presented with the latter .
mirroring the irony in which joe envisions his cowboy attire as masculine , he mistakenly buys into the fable that new york is filled with lonely women neglected by gay men .
joe thinks he is performing a great service for new york , but the city rapes him of his pride and possessions .
the people steal joe 's money , the landlord confiscates his luggage , and the homosexuals rob him of his dignity .
what has become of joe 's american dream ?
schlesinger responds to this question with the scene at the party .
joe gets invited to a shindig of sorts and at the gathering is exposed to a dizzying array of food , drugs , and sex .
at the party , all of joe and ratzo 's desires are made flesh ; joe flirts successfully with women and ratzo loads up on free salami .
contrasting joe 's daily struggles , shots of warhol 's crew display wanton indulgence .
there is an irreverence in the partygoers ' attitude ; we see a shot of a woman kowtowing to nothing in particular , orgies breaking out in the periphery , and drugs passed around like party favors .
the party makes a mockery of joe ' s ideals .
joe believed that hard work and persistence were the elements for success in america ; scenes of the party and his rendezvous with shirley suggest that it is the idle who profit from joe 's toils .
the american dream , schlesinger suggests , is merely a proletarian fantasy , for those who are content no longer dream , but become indolent .
as joe heads to miami , all that was significant of the cowboy image has left him .
his masculinity is compromised and his morality is relinquished .
for joe , nothing is left of the cowboy hero and commensurately , he surrenders the identity .
tossing his boots into the garbage , he returns to the bus for the last leg of his journey to miami .
the final shot of midnight cowboy shows joe inside the bus , more introspective , taking only a few glances outside the window .
instead of the frequent pov shots of joe excitedly looking out of the bus on his way to new york , schlesinger sets up this final shot from the exterior of the bus looking in through the window at joe .
reflections of the palm trees ratzo so raved about run across the bus ' window with joe hardly taking notice .
the scenery of miami no longer exacts the same excitement from joe as before .
the world seems smaller to joe now ; the termination of his journey coincides with the termination of his american dream .
no longer does joe aspire to be the enterprising gigolo ; he resolves to return to a normal job and resign to basic means .
midnight cowboy presents two familiar incarnations of the american dream .
there is the frontier fantasy that if you are brave enough to repel a few indians , you can set up a ranch out west and raise a beautiful family .
then there is the jay gatsby dream that a man of humble stock , with perseverance , can make a fortune in the big city .
joe 's attempt to realize these dreams robs him of his innocence in texas and morality in new york .
during his search for an intangible paradise , joe ends up raping a girl and killing a man .
an allegory of chasing the promise of the american dream , joe
buck 's progressive
moral atrophy is a warning against the pursuit of illusory icons .
[EX A]: P

[EX Q]: phew , what a mess ! for his fifth collaboration with director
rich- ard donner ( lethal weapon i - iii , maverick )
, mel gibson plays a motormouth , maybe mentally ill new york city cabbie , jerry , whose wild conspiracy theories are all but ignored by alice ( julia roberts , acting all serious ) , the justice department employee that he has a crush on .
she not interested , but another person is : a cia psychiatrist ( patrick stewart ) who promptly kidnaps him .
is one of jerry 's conjectures correct ?
* is * the metal strip in the new $ 100 bill being used to track your movements ?
is oliver stone still alive , because he cut a deal with george bush to spread * dis * information ?
is this movie really about
* any * of the crazed cabbie 's theories ?
no , no ,
and no . as it turns out
, there 's some other nonsense going on here , involving and revolving around jerry 's background .
( hint : pay attention to an early scene where jerry blacks out and flashes back , in quick succession , to images of an interrogation room , hypodermic needles , and ms .
roberts herself . )
the * initial * premise is pretty good and is played , for a while , at a delightfully dizzying clip .
mel is wider - open that we 've ever seen him and , if his character 's relationship with roberts ' initially strains credibility , their combined star power is blissfully intoxicating .
( the highest wattage of the summer , perhaps ? )
even when the plot contrivances begin to intrude , the two remain a randy dandy screen pair .
there 's a great scene in jerry 's fortress , er , apartment , with alice trying to act casual as her hyperactive host tries to remember the combination to a locked coffee bean container .
( which he stores in another locked con- tainer , his fridge . )
other hilarious moments , of which there are many , include a trio of memorable convention - breakers , where alice ditches a tail , jerry cold - cocks someone , and , later , eludes a foot pursuit , each in a uproariously unexpected fashion .
( that 's donner 's own ladyhawke playing in the theater , btw . )
let 's see , other pleasures include .
. .
a brilliant title sequence , a jazzy score from carter burwell , and the worth - paying - to - see sight of roberts pumping lead into one bad guy and slamming another 's head into a wall .
oh , pretty woman !
getting to the latter , however , requires slogging through an increasingly overburdened and ultimately unappealing story .
the last hour of conspiracy theory devolves from tolerable to torturous to almost unwatchable .
more stuff happens of the stupid shit variety than is worth mentioning here , except , perhaps , for a late sequence that has alice locating jerry in an abandoned wing of a mental hospital by hearing his voice carrying through the air ducts .
and here i thought it was wabbit season .
good god , who rewrites these movies ? and
do they arrive in nondescript black vehicles ?
[EX A]: N

[EX Q]: note : ordinarily , moviereviews .
org will not give away any critical plot points of a film that could be interpreted as " spoilers . " however , being that music of the heart is based on a true story and that moviereviews .
org feels the film can not be properly credited without such revelations , plot giveaways will appear in the following review .
if this bothers you , please note the 3 star rating of the film and stop reading now .
"
what does it take to play carnegie hall ?
practice .
"
it takes two hours for music of the heart to " play carnegie hall , " both figuratively and literally .
like the children it portrays , the movie starts from the dark realms of awful cinema and works its way up to a show - stopping performance at the legendary concert hall .
roberta guaspari ( academy award winner meryl streep ) has two kids , a husband who left her and 50 violins she bought from a small shop in the mediterranean .
her life desperately needs a jump start and gets one when she meets a man who introduces her to a job as a music teacher at an east harlem elementary school .
she soon finds her job is on the rocks as the men in her life continue to rotate through revolving doors .
that is the pattern - like plot of this production .
ultimately , the film chooses a zero - sum answer to these problems and finds her music career at an all - time high when the men in her life finally vanish .
the first hour of music of the heart is rather painful .
roberta 's character lacks development and consequently seems to be flat .
also lacking depth is the film 's " bad guy , " a narrow - minded music teacher ( josh pais ) who rejects roberta out of principle ( the movie never explains exactly which principle that is ) and conveniently comes and goes from the plot according to when it might be dramatic to have a villain around .
the next 15 minutes of the film are mediocre .
they are highlighted by one child 's return to roberta 's class ( coming after the great old hollywood scene where he explains be ca n't be around anymore because " my mom said . . . " ) and a glowing concert .
not knowing the running time , you may expect the credits to role at this point .
but they do n't .
instead the film uses the next 45 minutes to finish its journey from bad to mediocre to excellent .
director wes craven , known for his works of horror , uses some old sentimental tricks to get the audience tearing .
one romantic break up scene is highlighted by the classic
" but . . .
last night . . .
" and roberta 's two children also have textbook conflicts with their single mother regarding their father 's absence .
the city of harlem plays a strong role in the movie .
roberta 's mother is initially reluctant to see her daughter move to that part of town and the film does nothing to combat that stereotype .
the noise tracks for these scenes are dominated by sirens ; predictably one of roberta 's students is gunned down and killed off screen .
one thing the film does lack is subtlety .
the fact that a little boy was playing " we shall overcome " on his violin after the aforementioned shooting was a cute and discreet reference .
the fact that the entire orchestra begins to play it over and over soon after is an overdone reference that shows how little credit he gives the audience .
( of course , in horror films the foreshadowing and between - the - line moments are meant to be overdone , so perhaps he too is just learning to play the game . )
even with all its flaws , music of the heart is a beautiful film .
that is not an excuse for the movie 's poor beginning .
but as i watched the scenes in carnegie hall , i thought of some of the great acts that have taken that stage .
in december of 1979 a comedian named andy kaufman put on a show that will forever be remembered as one of the most original in theatre history .
the performance included a dead - on elvis impression , robin williams in disguise and a moment at the end when kaufman announced he would take the whole audience out for milk and cookies .
so , how did this comic genius choose to open the show of his life ?
he had a character named tony clifton take the stage for the sole purpose of irritating and angering the audience .
perhaps it is okay for music of the heart to start off rusty because just as kaufman had santa 's favorite food ,
this movie has an amazing finale .
[EX A]:
P