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

[Q]: i came to an epiphany while watching the bachelor , an innocuous - enough - on - the - surface romantic comedy .
it 's not the sort of film in which one would expect to achieve any moment of clarity , but there it was nonetheless .
i sat there watching this marshmallow of a movie unfold when suddenly i realized what is so ridiculously wrong with the entire romantic comedy genre circa 1999 .
in a word , it 's the same thing that 's wrong with so many movies circa 1999 : writing .
more to the point , it 's the refusal to acknowledge that characterizations matter when you 're telling a story about a relationship .
the bachelor is merely the latest in a long line of films where we 're expected to get dewy - eyed over any pairing of attractive , pleasant people just because they 're attractive and pleasant .
in this particular case , attractive and pleasant exhibit a is jimmy shannon ( chris o'donnell ) , a single guy who has been watching his friends slowly but surely sucked into marriage .
it 's a scary notion for jimmy , even though he dearly loves attractive and pleasant exhibit b anne ( renee zellweger ) , his girlfriend of three years .
convinced despite his reservations that it 's time to " sh
* t or get off the pot , " jimmy proposes to anne -- very badly .
anne refuses , which leaves jimmy in a very odd position when his eccentric grandfather ( peter ustinov ) dies and leaves a very specific video will .
jimmy stands to inhereit $ 100 million if he is married by 6
: 05 p .
m .
on his 30th birthday , stays married for 10 years and produces a child .
there are only a couple of minor problems : 1 ) jimmy 's 30th birthday is the next day ; 2 ) anne is nowhere to be found , meaning jimmy has to find another willing bride from among his many ex - girlfriends .
it 's a wacky , brewster 's millions - esque premise ( acknowledged as such in one of the film 's better , more self - aware lines of dialogue ) , the kind where a shallow and materialistic guy learns what really matters .
at least that would be the case if jimmy were n't already a world - class altruist .
screenwriter steve cohen slides into the story an even more draconian condition in the will : if jimmy does n't get married , not only will he lose all the money , but the family billiard table buisness will be sold out from under him , costing hudreds of jobs .
from the outset , jimmy 's motivation is n't cash ; it 's the livelihoods of his devoted employees .
it 's almost embarrassing for his marital misgivings to play a role in the bachelor 's plot development .
by any human standard , the guy is impossibly selfless .
and that 's the essence of the gutlessness endemic to films like the bachelor --
the fear of giving the characters flaws to overcome on their way to happiness .
there 's never any tension between the two star - crossed lovers , because there 's no sense that anything remotely significant is at stake .
the blandly nice o'donnell could n't pull off a randy cad if he tried , so the filmmakers do n't even let him ; zellweger 's anne may have issues with her sickeningly affectionate parents as an impossible standard to live up to , but no one dares make her anything but the woman ( lightly ) wronged . and forget about seeing enough of jimmy and anne together to feel invested in their potential reconciliation .
the parade of sit - com set pieces had better be damned funny , since they 're all that stands between us and a blissfully sweet foregone conclusion .
i 'll admit a couple of those set pieces are amusing , including ustinov 's rantings about procreation and a restaurant full - to - bursting with men popping questions and champagne corks .
far more of them are either tedious or downright ghastly
, like the shudder - inducing sight of brooke shields as an icy fortune - hunter or the hideous collection of stereotypes when hundreds of potential brides gather in a church .
you 're never going to get too many raucous belly laughs from a film like the bachelor , but that 's not the real problem .
nor is it the real problem that you know exactly the kind of warm - n - fuzzy conclusion it 's leading up to .
the problem are a beginning and middle that are equally warm - n - fuzzy --
there 's no spark , no energy , no humanity .
it 's an emotional pudding guaranteed not to offend any consumer 's digestions .
we 've reached a point where our proxies for cinematic romantic wish fulfillment do n't even have a pulse .
the bachelor is love among the mannequins .
[A]: N


[Q]: go 's is a gloriously slick hip machine .
director liman ( who also photographed go ) and screenwriter august celebrate the drug / rave scene in l .
a .
, preferring to take ( comedic ) snapshots of troubled youth rather than critique them .
after more than ninety minutes of pill - popping , tantric sex , car chases , and attempted murder , go even has a happy ending .
this is the sort of film that gives members of the dove foundation splitting headaches ; as go wound down , i anticipated an anti - pill - popping - casual - tantric - sex - car - chase - attempted - murder sermon that ( blessedly ) did n't arrive .
a la tarantino 's pulp fiction , go is comprised of three separate but related stories .
the basics are as follows :
ronna ( polley ) is a bitter grocery store clerk facing eviction who turns to drug dealing for extra dough .
her co - worker , simon ( the improbably named askew ) , is a clubber from britain ecstatic about his first trip to vegas .
zack ( mohr ) and adam ( wolf ) are soap opera stars escaping a career - threatening conviction by assisting a peculiar cop ( fichtner ) in a drug bust .
perhaps because the innovative structure of tarantino 's non - linear masterwork is by now old hat , the id - fueled go delighted me but rarely surprised me ( with the exception of that mind - reading cat ! ) ; pulp fiction zigzagged down roads unforeseen , but we see go 's wheels turning from its first flash frame to the last .
torontonian polley ( of the sweet hereafter ) refused to do publicity for this picture on the basis that she was " not pleased with " her turn as the ill - fated cashier .
in go , she delivers , hands - down , her best performance to date .
here 's an ( overrated ) actress who agreed to appear on the poster , but not support her team at the junket or in interviews ; this sort of arrogance is commonplace for ms .
polley , as anyone who has read of her political agenda in the canadian press will tell you .
if she does n't want to be the ingenue of the moment , she should have said " no , " not go .
but i digress .
go is a fun film , so chipperly depraved one ca n't help but turn off his moral judgment for its duration and enjoy the ride .
in that sense , it 's a departure from liman 's last film , swingers , which at least lectured against self - absorption in the form of vince vaughan 's trent and his subtle comeuppance in the story 's clever epilogue ( which has been aped by mcdonald 's for their latest commercial ) .
i wish i cared more about go 's characters : like the techno music they listen to , the bands of anarchists on display here are at once absorbing and vacuous .
when the lights came up and stung my eyes , it was difficult to recall what about it entertained me . yet
entertain me it did
.
go is light and frothy , featuring compelling if not endearing work by polley , timothy olyphant ( scream 2 ) , and especially fichtner , whose homoerotic behavior is milked for effective laughs .
fichtner is a character actor best known for playing backstabbers ( in heat , armageddon , and others ) ; his previously untapped comic abilities shine in go .
unlike much of the film , fichtner is unpredictable .
[A]: P


[Q]: susan granger 's review of " american outlaws " ( warner bros . )
thomas edison 's " the great train robbery " ( 1903 ) was the first western ever made and " jesse james under the black flag " ( 1923 ) first introduced the outlaw folk hero .
now , more than 20 similarly - themed pictures later , jesse james and his notorious gang of outlaws ride again in a banal mtv spin on an american legend .
the story begins as jesse ( charasmatic colin farrell ) and his brother frank ( gabriel macht ) , cole and scott younger ( scott caan , will mccormack ) and trusty comanche tom ( nathaniel arcand ) , after four years of fighting for the rebs in the civil war , return to liberty , missouri - only to discover union troops are occupying their hometown .
and an avaricious east coast railroad baron , thaddeus rains ( harris yulin ) , is forcing farmers to sell their land at less than true value , aided by allan pinkerton ( timothy dalton ) and his infamous detectives who , back then , were just thugs who provided security .
but when ma james ( kathy bates ) becomes one of their victims , jesse and the rest of the guys ( gregory smith , ty o'neal , joe stevens ) form the james - younger gang to wreak revenge by attacking the railroad 's supply lines , sabotaging track and robbing the banks where the payroll is kept .
plus there 's romance - between jesse and a spunky hometown gal , lee mimms ( ali larter ) .
working from a politically - correct , clich ?
-drenched , sanitized and revisionist screenplay by roderick taylor and john rodgers
, director les mayfield keeps the action fast - paced and goes for lightweight laughs when he can .
the choppy editing hurts but russell boyd 's cinematography , luke reichle 's designer duds and trevor rabin 's music lend authenticity .
on the granger movie gauge of 1 to 10 , " american outlaws " is
a galloping , formulaic 3 .
it 's the wild west re - visited as a date movie .
[A]:
N