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.

Ex Input:
I'm among millions who consider themselves Cary Grant fans, but I can't think of a single reason to recommend this movie.I don't understand the casting of Betsy Drake and it appears no one else did,if we're to judge from the small number of films in which she played afterwards.Most fans will agree that Katharine Hepburn was superb at chasing and catching Cary Grant in Bringing Up Baby.Here the director or writers try to rehash the idea,but it fails miserably.I've read comments about how "creepy" Drake was,but I thought that was far too mild a description. Franchot Tone walked through this one as if he were hungover.A casting disaster is one thing.This film is a total disaster.This one doesn't deserve 10 lines of comments and I don't know why that's a requirement.Too bad this one was preserved when so many worthwhile films lie rotting in vaults.Unless you want to torture someone,give this one a wide berth.

Ex Output:
negative


Ex Input:
This is not a boring movie, the audience might stay on its chair fascinated by this selfish character, Miles Berkowitz, both film-maker and actor here. The storyline is simple : after a divorce and ten years of a hollywoodian non-career, the author plays is quest for love in front of the camera. The first question is about how true is all that : what is written, what came by chance ? Both answers, "yes" or "no" portrays M.Berkowitz as a low average human beeing. If you look for a self-fiction about love like this one, I recommand you to read some independant comic books : Chester Brown, Joe Matt...Beside of this, I felt quite disappointed to hear so much against my country, France. I know american people usually say that the french are arrogant (that might be true then), etc., and for sure the french (and the whole world) have lots of griefs against america, but why so much hate ? Don't think I couldn't like this movie only because of that anyhow.

Ex Output:
negative


Ex Input:
This could be well have been THE definitive film noir of all time, had not the Columbia Studios cut so much of Orson Welles's original. What we are left with is a flawed, yet brilliant film that showcases the overwhelming talent of Welles as an actor/director and Rita Hayworth as a serious dramatic talent.'The Lady From Shanghai' is film noir at it's most sizzling and confusing. Welles, with an uneven accent, portrays Michael O'Hara, a journeyman Irishman, who, after a fateful encounter with the seductive, dangerous Elsa Bannister (Hayworth, in a GREAT performance)finds himself virtually coerced into accepting a job as a crewman on her and her crippled husband's (Everett Sloane) yacht. Elsa, or 'Rosalie' as Michael likes to call her, plays the innocent, helpless doll very well, ensnaring O'Hara in her web. As the lovers conduct a not-so-secret affair at sea, Arthur Bannister's partner in his law firm, George Grisby (Glenn Anders)comes aboard. He is a weird, untrustworthy figure who offers Michael a unique proposal: He will get $5000 to assist Grisby in the faking of Grisby's death, so it looks murder. The plan is for Michael to get off a technicality, and run off into the sun with Elsa. But things do not go to plan.Hayworth delivers us one of the best femme fatales of all time in a very ambiguous portrayal. At times she seems genuinely vulnerable and child-like, at others brutal, world-weary and hard. Always she is brilliantly beautiful, whether he situation calls for her to be dripping wet in a swimsuit or dressed in black, brandishing a gun. Hayworth is beautifully photographed here, and she is a far-cry from her famous 'Gilda' role. Her then-husband Orson Welles cut off her trademark auburn locks for a dyed blonde crop (angering Columbia boss Harry Cohn). It was a terrific marketing ploy, and he change suits her changed attitude wonderfully. She is not the sympathetic femme fatale that 'Gilda' is, here- instead she is a predatory, black-hearted dame who sees murder as a very useful option.The Welles and Hayworth pairing came at a time when the couple were having extreme difficulties in their marriage. They would divorce after the film was made, so this is also a curiosity for providing some view into the complicated relationship. They are hateful, not romantic, lovers in this, so it's hard to gauge whether or not they had real chemistry on screen. Certainly every encounter is potent and filled with raw sexuality, with Welles as the 'fall guy' (he even admits it himself in the film!) and Rita as the double-crossing babe.Welles character is the typical noir 'drifter' with not much sense. As Welles voice-over proves to use, O'Hara indeed does not use his brain very much 'expect to be thinking of her (Elsa)'. Welles usually played intelligent, charismatic fellows, so his turn here as the dim-witted Michael is unusual and very interesting. Indeed, Welles was an actor of fine talent and he pulls off it well.Everett Sloane is suitably slimy as Hayworth's crippled husband. One wonders why he hires Michael. It is obvious that his wife is interested in him romantically, so why does he invite a 'threat' on board? One interpretation could be that Michael provides the 'service' to his wife that Bannister cannot in his crippled state. There is definitely something to that theory, with a lot of implications toward Elsa's behaviour before she met her husband (was she some sort of prostitute?)and Grisby's knowledge of Bannister's most intimate secrets being hinted at in several scenes.This is a jumbled, convoluted film with a plot that is ultimately flawed. We are more interested in the love triangle than the murder plot, as with most noirs. Welles provides us with many of his usual brilliant cinematic touches, including the justifiably famous 'hall of mirrors' climax. It's a terrific scene, one ending that can almost obliterate the faults earlier on in the movie and lift it into greatness. This fun house scene is visually stunning, with a Dali-like feel to the painted sets (apparently Orson painted them himself). Subtle visual imagery utilized throughout the film by Welles enhances the plot and makes this a thought-provoking experience.The dialogue is scorching and confusing, delivered superbly by Rita's alternately breathy low voice and helpless, high-pitched little-girl voice. Hayworth proves her acting capabilities in this one, and proves that SHE is the ultimate femme fatale of 'noir'. It's a pity (only a slight one , as Rita was a brilliant dancer) that she did so many delightful yet frothy and often forgettable musicals for Columbia in the 40's instead of darkly-themed noir like this. She was a brilliant actress when given the chance to show off her talent.9/10.

Ex Output:

positive