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".
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Question: Review: Heavy-handed moralism. Writers using characters as mouthpieces to speak for themselves. Predictable, plodding plot points (say that five times fast). A child's imitation of Britney Spears. This film has all the earmarks of a Lifetime Special reject.I honestly believe that Jesus Nebot and Julia Montejo set out to create a thought-provoking, emotional film on a tough subject, exploring the idea that things are not always black and white, that one who is a criminal by definition is not necessarily a bad human being, and that there can be extenuating circumstances, especially when one puts the well-being of a child first. However, their earnestness ends up being channeled into preachy dialogue and trite situations planted to move the plot along. The decent production values and interesting use of documentary-style camera footage are not enough to accomplish their aim when the script and the acting fall flat.Logic is often compromised for the sake of creating tension: Soid first tries to blackmail Pablo into participating in her documentary in exchange for helping them escape, then in the same breath basically tells him not to trust her because she's not helping them out of altruism. Well, duh. And for a man on the run, Pablo is far too swayed by a temper tantrum. Cristina's well-being is so important to him that he's fleeing capture and jail or deportation for her, but he's willing to risk all that to appease her when she doesn't want to go to Mexico. Right. Talk above over-permissive parenting. Third, when Pablo's employer Charlie gives the phone to Detective Bright, she is remarkably unprofessional, especially given her seniority - did she really think she was persuasive? Oh, yeah, I would have turned myself in. CCH Pounder's Detective Wims could wipe the floor with her.To be fair, I'd like to list the things I liked. Um, I liked the midget. And I liked the fact that the midget was named Sexy. There's cross-dressing, always a plus; juvenile cross-dressing, no less! Harry is infinitely cuter than Cristina. But my favorite moment in the film has to be when Cristina kicks Detective Not-So-Bright. I also find it interesting that, in a heavily minority cast (which I much appreciate, by the way), the black character is the racist one. Too bad it's just thrown out there and not further explored.There's a distinctive, unconventional score, but it's nonetheless generally context-unspecific, not enhancing mood or tension in any scene, except the pathetic, anguished wailing every time the main character is in anguish, as though they think his acting doesn't show it enough: 'Just in case you weren't sure, he's upset, and we have the musical cues to prove it.'Stilted, clichéd dialogue results in a depressing lack of subtext; everything has to be spelled out in dialogue, even when the body language had been up 'til then conveying it just fine. For example, every impassioned speech Pablo makes, and Mrs. Knight's lament that her child won't be crawling into bed with them in the morning.'Papi, tell me about Mama again' - what shameless, blatant exposition introducing the generic dead wife! (She's always the most beautiful woman the widower had ever seen, the kindest he had ever met. Why can't we see a man cry over a woman like Shakespeare's - she may be fat, ugly, obnoxious, but his love for her is deep as oceans? Now _there's_ a story which would move me.)The police always being literally one step behind them gives many scenes the out-of-place feeling of a French farce. Most boring foot chases ever - Bright and Lightning are so out-of-shape and easily-fooled (he certainly isn't quick as lightning, and she, well, I don't feel the need to spell things out). Some guy dragging along a small child outrunning a bicycle cop, complete with macho biker picking a fight but then being felled by a child? To quote Margaret Cho, that's so sad. Would we ever see this on 'Cops '?Hackneyed and over-the-top deus ex machina: as an employer, would you really waive checking his green card just because he can quote the author of the inspirational saying on a poster behind your desk?Plus several scenes, including the above, threaten to devolve into porn: 'Well, I'll do this favor for you, as long as you do something for me...' I can almost hear the bowm-chicka-bowm-bowm.When the parents view the footage shot of Pablo's remorse, the grieving mom's freak-out is the most real the movie feels. Unfortunately, this is diminished by the fact that she looks completely swayed by his emotional speech right up until she goes ballistic. A more ambivalent look would be more convincing here.I'm in constant awe of the stupidity of the main character doing things for the sake of plot: holding up a convenience store without a mask, visiting the dead girl's grave. And why doesn't the mother recognize his face from when she saw him before he drove off?! 'You seem awfully familiar...'What is the purpose of that wholly unnecessary, somewhat gratuitous scene with Soid and the artificially-enhanced bartender? Character development? Tch. Too little, too late.Speaking of unnecessary traits that never went anywhere, Detective Lightning's saying skeptical Detective Bright must be a Scorpio shows how little he really knows about the occult. And I don't think that believing in fate quite qualifies as voodoo mumbo jumbo.At the end, when Bright holds Pablo as he dies - wait, why does she care now? Her character is as inconsistent as Soid's. What, she has to shoot him just because she said 'Stop, or I'll shoot'? (She's cared _so_much_ about her integrity thus far.) He was unarmed. There was no need for lethal force. What's wrong with shooting him in the leg to immobilize him?Finally, Cristina's childlike acceptance of her mother's death giving Dr. Knight peace over his daughter's death - so forced. And the contrivance of the family whose child was killed becoming Cristina's new family... It angers me that she could be a 'replacement' for their little girl. It's also unrealistic that a white couple would take in the Latino daughter of the man who killed their own daughter. I'm not saying there aren't generous, loving people who would do that. I'm just saying that the characters here are never developed far enough for me to believe that _they_ would do that.I find it offensive that another IMDb reviewer said that of course as a woman she was moved by the sappy scenes. I am a woman who reserves my emotional movements for moments that don't wax sentimental in a manufactured manner.Co-writer, co-director, co-star Nebot said himself he wore too many hats during this production. Too many cooks may spoil the broth, but one cook alone just might end up making an after-school special.In conclusion, this film's title has less to do with the story and more to do with the feeling of regret, helplessness, and loss accompanying the revelation that you will never see your money again. Question: is it a positive review?

Answer: no


Question: Review: Six GIs, about to be send home and discharged, get drunk and sneak into a cult meeting in Asia. Surrounded by hooded figures, two male dancers pretend to have a fight. Behind them, on an altar, a woven basket opens and a figure painted emerges and begins imitating a snake, finally biting one of the dancers on the neck. The imitation snake is dressed in some scaley looking body tights. (This is definitely a female imitation snake.) The cult member who has sneaked them into the secret meeting has warned the six men repeatedly that the ceremonies must not be interrupted and, most definitely, no photos must be taken or else they will be hunted down and killed. Naturally, the GIs take a flash photo, send the cult members into an angry hysteria, steal the basket containing the "snake" and run off with it into the Asian night.One of the guys, the most offensive and snarky, dies from a cobra bite on the neck, though no one can explain how the snake got into his hospital room.Back in New York, it all seems rather old news as the discharged men settle down into their civilian lives, still maintaining their bond with one another. Their jobs range from manager of a bowling alley (David Janssen) to graduate research student (Richard Long). James Dobson, Jack Kelly, and Marshall Thompson are also part of the neighborhood. Richard Long has a nice blond girl friend. Kelly is a somewhat reckless womanizer. But they all get along well enough and all of them seem happy.Then a dark, shifty-looking, mysterious woman (Faith Domergue) shows up and Marshall Thompson takes a liking to her and insinuates her into the group.Guess what happens. First Janssen is terrified by a shadow in the back seat and dies in a car crash. Then Kelly gets a visit from Domergue. Something scares him so badly he tumbles through the window and dies in the fall to the sidewalk. Long and Dobson begin to suspect what the viewer already knows -- that Domergue has had something to do with the deaths. They also reckon that maybe she's turning into a cobra, which is the case. Dobson confronts her with his suspicions and she proves his point.By this time Long and Thompson are thoroughly frazzled, particularly Thompson, who is in love with Domergue and has discovered that she is attracted to him, too, although he must explain to her what "love" is. No matter. A final reckless attack by the cobra woman against Long's girl friend -- not one of the six original offenders -- and Thompson must throw the snake out the window. On the pavement below, the body changes to that of Domergue. The end.I think I'll skip over most of the questions that the plot raises. I'll just mention one of the more prosaic ones in passing. Who paid for Domergue's fare from somewhere in Asia to New York? Who's paying her utility bills in the hotel? Who paid for her spectacular wardrobe? How come she speaks American English so well? What the hell's going on? The writers and director have clearly seen some of Val Lewton's modest horror films and, though not much effort has gone into this production, they've unashamedly stolen some gimmicks from Lewton. In Lewton's "The Cat People", for instance, the woman is transformed into a black leopard but, with one tiny exception, the threat is always kept in the shadows and is all the more spooky for it. Most of the transformations here use shadows too, but unlike Lewton's, the shadows are clumsy and unambiguous.Lewton also made occasional use of what he called "buses". Lewton's first "bus" was a literal one. A potential victim is hurrying alone through the dark tunnels of Central Park with only the sound of footsteps. Something or someone is following her. She freezes with fright under a street lamp. Something rustles the branches of the shrubs above her. She looks upward. There is a loud, wheezing shriek that makes your hair stand on end. It's a bus using its air brakes to stop for her. The producers used at least two "buses" in this film and they amount to nothing. A guy is walking distractedly across an intersection, for instance, and there is the sudden rumble of a truck that almost hits him. There is no set up to the shot. It's jammed in with a shoe horn.I don't much care for movies that perpetuate the stereotype of serpents as slimy, ugly, venomous, and phallic. As a matter of fact, no snakes are slimy, most are harmless, and many are extraordinarily beautiful. Furthermore, they're more feminine than masculine in their sinuous movements and serpentine approach to goals. You want a reptilian symbol for masculinity? Try a six-lined racerunner. It's a really fast lizard. When it sees something to eat, it rushes up and gobbles it down.Anyway, if you want to see some fine, low-budget scary films, don't bother with this one. Find "The Cat People" or one of Lewton's other minor masterpieces, of which this is an obvious copy. Question: is it a positive review?

Answer: no


Question: Review: As good an advert for republicanism as you're ever likely to see,"Mayerling"is an everyday story of royal folk in late nineteenth century Austria.Set during one of Europe's seemingly incessant internal turmoils it concerns itself with the Emperor Franz Joseph (Mr James Mason),his rebellious son,the Crown Prince Rudolf (Mr Omar Sharif)the Empress(Miss Ava Gardner) and various mistresses,secret policemen,spies,extravagantly-uniformed popinjays,gypsies,dancers,wives, soldiers,swans,horses and the bizarre inbred web of European royalty at the time of Franz Joseph's Austro-Hungarian Empire. Filmed in what the old movie posters used to call "A Riot of Color" it resembles nothing more than an expensively-dressed but intellectually-challenged production of "The Student Prince" .Mr James Mason,wearing a very natty little white number,utilises his all-purpose mittel-European accent whenever he remembers.I am a great admirer of his and I sincerely hope the remuneration was comensurate with the distaste he clearly felt for the character he was playing. Mr Omar Sharif,who built a career largely founded on looking directly at the camera with his big brown eyes and looking soulful,gives a stupefyingly monotonous performance as his son the Crown Prince.He is utterly unconvincing as a man who -in the movie at least-cut a swathe through the distaff side of the Austrian aristocracy.With his well-buttered locks firmly in place he preens and poses in ever more unlikely uniforms.As a rebel he talks the talk but conspicuously fails to walk the walk,leaving a bottom button undone on one of his tunics is about as far as his defiance goes.Unhappily married,he falls in love with a commoner."Forbidden Love" is one of the movie's come-ons.As she is played by the most uncommon Miss Catherine Deneuve he is scarcely pushing the envelope there.Miss Deneuve has a profile to die for and we see rather a lot of it,particularly in the sequence set at the ballet. Now I love ballet as much as the next man,but this sequence does seem to go on for an excessive amount of time,a more cynical critic might consider it to be "padding". Rudolf's mother,the Empress is played by Miss Ava Gardner.She gives the part some good old American oooomph,making her a bit like "Auntie Mame",but it's done with undeniable style.Rudolf is certainly very fond of his mother - I'll put it no more strongly than that. The only performance worth watching is that of Mr James Robertson Justice as Sir Lancelot Spratt - sorry,Edward,Prince of Wales.He is so wonderfully unconcerned about everything going on around him it's a joy to behold.I waited vainly for him to ask Rudolf the immortal question "What's the bleeding time?". I am not qualified to dispute "Mayerling" 's historical accuracy,but,in my opinion,everything else about it is risible. It is a Ruritanian Opera Buffa without the tunes to send you home from the theatre whistling. Question: is it a negative review?

Answer:
yes