In this task, you are given a review of movie. Your task is to classify given movie review into two categories: 1) positive, and 2) negative based on its content.

Input: Consider Input: If you're a fan of Mystery Science Theater 3K, Attack of the Giant Leeches, or Pinata Survival Island, this movie might be for you.I live in Nashville and I didn't even know of this movie's existence until the day prior to its release, when the advertising company panicked and blanketed Music Row with dozens of fliers and billboards. It barely lasted two weeks in theaters anyway.Bad acting, bad writing, and poor production only begin to describe this embarrassment of a film. For starters, the names are a bit much: Bo Price, Angel, and Dixie? Eesh.Toby's awkwardly slow delivery of lines makes one wonder what production assistant got stuck holding the cue cards off camera. Angel's character rapidly transitions from her city-slicker ways to a cowgirl, slipping into southern slang after two days on the ranch. Her wardrobe goes from chic to a female version of Toby's--in fact, in the final scene, their outfits are identical, making one wonder if the wardrobe assistant called in sick.The audio is inconsistent - perhaps the most noticeable example is when Toby decides to go for a swim and his voice suddenly sounds like he's shouting in a gymnasium.There's never quite enough explanation or character development to suffice what happens on-screen. Overacting, exasperation, grimaces, and moodiness best describes the actors' interpretation and direction of the terrible script.This movie is best enjoyed after consuming a couple of alcoholic beverages and in the company of your wittiest friends. But that's not saying much.

Output: negative


Input: Consider Input: A wonderful television mini-series completely ruined by a 45-year old woman trying desperately to pass herself off as a 16-year old ingenue! No exaggeration - that's the ACTUAL age of the character played by Ali MacGraw when the film opens just prior to the surprise attack at Pearl Harbor. This TV mini-series really is the most classic example of the title of this post and one I refer to whenever the topic comes up.That alone makes this completely unwatchable, despite the fact it's one of the best filmed WWII 'global' dramas TV has ever produced. If you have the stomach - or a decent fast-forward ability - you might be able to enjoy the late Robert Mitchum in a very strong performance. I'm stunned at some of the comments referring to the love story (pun intended). Did they watch the film with their eyes closed? Or are they aging boomers who never cease to amaze me with their "selective memories" and "selective vision". I'm a Boomer myself so don't think for a second I'm some hubristic young punk. 45 WILL ALWAYS LOOK 45. Get used to it. Deal with it. Age gracefully damnit.The Winds Of War could have been... so good. How much more would we be talking about this mini-series today, some 25 years later, had an ACTUAL ingenue been cast in such an important & critical role? Right now, with the constant haggard old biddy distraction, that alone cancels out most of the wonderful aspects of The Winds Of War.

Output: negative


Input: Consider Input: This is the 2nd time I've seen this movie in about 12 years. These remarks come from someone who finds Kane and Ambersons to be amazing, worthy films. But the remainder of Welles career is, unfortunately, squandered on material unworthy of his talent and too flimsy to withstand his filmic embroidering. And when he makes a potboiler like Shanghai, the lack of anything substantial to hang his filmic tricks on, is just kind of sad. I couldn't tell you what he was exploring here. It's all as mannered as Welle's godawful Irish brogue; which takes a lot of effort, but adds absolutely zero to the film. Several Welles projects became this overdeveloped and baroque. Mr Arkadin (pick a version, any version) is a similarly belabored project. The material is inconsequential. It just can't bear the weight of all this noodling. For a director trafficking in reality-based drama (as here), he never feels any pull to tie his bundle of conceits back to reality; or to a coherent story. The murder-for-hire scheme is ridiculous. Kudos to Welles though, for having Hayworth cut her hair, and getting that performance out of her. The camera loves her. She's the classiest, most upscale, sultry and ravishing femme fatale ever put on film. But her treachery comes so late in the film it feels like some desperate decision, made so the movie will have some genre it fits into. The movie can't be saved by a noir convention deployed in the last 60 seconds.When all is said and done in L.F.S., the convolutions are all for what?; to convince you you've seen something thoughtful? to give Welles more to do? to make you roll your eyes? Welles has no sensitivity to the scale of a story, or to telling a story directly. One wonders what Shanghai has to say to anyone who isn't a crippled billionaire, arranging a quadruple-cross murder-for-hire scheme, or a fanboy in love with filmic conceits devoid of meaning or substance. Overwrought, preposterous, unengaging.


Output: negative