instruction:
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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Review: Journey to the Center of the Earth is the story of some tourists of Hawaii, three of them siblings, and one of them a young British nanny babysitting a dog. When the siblings accidentally drive off in their jeep with the basket of dog biscuits, the nanny follows them (it might've just been safer to purchase more) all the way to the cave the siblings intended to explore (I guess). For some reason, they actually go in the cave and then, when the place starts caving in, they try to get out to no avail, except for the six-year-old sister who they tell to go get help. Meanwhile, the more they move around in the cave, the more they continue to plummet further and further towards the earths cavernous core. And behold, it is here where they find the City of Atlantis and its bizarre alien habitants who are living under the oppressive rule of one alien that doesn't want them asking to many questions about the worlds external to their own.I see that Rusty Lemorande, the named director of the film has provided comments on this film, in which he explains that part of latter half of this film is actually the sequel to Alien in L.A. Well, whatever it was, it was an amazingly cheap movie that I would rank only slightly higher than City Limits (a 1988 sci-fi film also made on a non-existent budget) because at the least ending of this dreadful piece of mostly incoherent film-making that cuts corners where it can aims for some humor and amusement in the last 20 minutes when we finally see what life is like in the alien world at the center of the Earth. I also give it a two star rating rather than one because it was at times, funny, even if only in its subtleties. For example, the aliens asks the British girl if she's an alien and she explains that the Ministry should be sending her work visa shortly. Or when the alien girl finds Bryan and explains that he is in the city of Altantis and he mistakes this for Atlantic City, New Jersey. Little things like that make the idiocy of the first hour or so tolerable. Imagine how great the film could've been though if they had 1) actually intended to make it, and 2) actually had money to make it.I do like how in the end, no one wonders what happened to the little sister who was sent away in the beginning to get help. She'd just be wandering around the Hawaiian caves and not too far from the erupting volcano, mind you. Question: is it a negative review?
answer:
yes


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Review: 'The Shop Around the Corner (1940)' is a pleasant romantic comedy, not the sort that I will hold dear to me until the end of my days, but nonetheless a film thoroughly deserving of its reputation. By 1940, director Ernst Lubitsch had long ago taken Hollywood by storm, and his famed "Lubitsch touch" had become a sparkling commercial trademark. This film was planned for a 1939 release, but scheduling conflicts meant that James Stewart and Margaret Sullavan were unavailable for filming. Rather than substituting either of his main stars, Lubitsch decided to postpone production, in the meantime directing Greta Garbo in 'Ninotchka (1939).' When it was finally completed, 'The Shop Around the Corner' appears to have been met with relative indifference, receiving zero Oscar nominations despite an excellent screenplay by Samson Raphaelson and fine performances from its two leads and Frank Morgan in a supporting role. Time, nevertheless, has betrayed the film's massive and enduring influence, with high-profile remakes including 'In the Good Old Summertime (1949)' and 'You've Got Mail (1998).'At its surface, one might assume 'The Shop Around the Corner' to simply be the story of two lovers, Klara Novak (Sullavan) and Alfred Kralik (Stewart), who love each other without knowing it. However, Lubitsch's film runs much deeper than that. It's the story of Matuschek and Company, a stylish gift shop in Budapest, and the various human relationships that make the store such a close-knit family. When store-owner Hugo Matuschek (Frank Morgan) begins to suspect his oldest employee of having an affair with his wife, we witness the breakdown of two families, both at home and at work. There's absolutely no reason why the story should not have been set in the United States  perhaps in the blustery streets of New York  but Lubitsch was deliberately recreating the passions and memories of his former years in Europe, the quaintness of love and life before war brought terror and bloodshed to every doorstep. This subtle subtext brings a more meaningful, personal touch to the film  in fact, even as I write this review, I'm beginning to appreciate the story even more.Sullavan and Stewart are both lovely in their respective roles, but I think that it's the supporting cast that really make the film. Each character brings a distinctive personality to the mix, and their interactions are always believable and enjoyable. I especially liked how Lubitsch knowingly directed much of our sympathy towards Hugo Matuschek, who, in any other film, would have been restricted to an underdeveloped, two-dimensional portrayal. Matuschek may have lost the love of his family, but he recaptures it in the affection of his employees, and you feel a heartwarming glow when, in the bitter cold of a Christmas Eve snowstorm, he finds companionship in a freckle-faced young errand-boy (Charles Smith). This genuine warmth towards a supporting character strikes me as being similar to several of Billy Wilder's later creations, for example, Boom Boom Jackson in 'The Fortune Cookie (1966)' or Carlo Carlucci in 'Avanti! (1972).' Of course, it doesn't really need saying, but Billy Wilder learned from the best. Question: is it a positive review?
answer:
yes


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Review: "An album of songs so old everyone thinks they're new." This film has the elusive combination of pace and mood that set some films apart from the opening moments. And why not? Towering talent from Dame Judith Dench as a widow who plays saxaphone with a street musician to help him get the songs right, to Olympia Dukakis as the merry widow living in a Scottish castle on the alimony of her many marriages, to Ian Holm as the drummer who loved all the members of a World War II all girl (more or less) swing band. But wait, there's more. Add in Leslie Caron on bass, and the incomparable Clio Laine on lead vocal, at last, and the Blonde Bombshells are the hottest band in England since the Beatles. Well, OK, not really, but this movie is a winner.Elizabeth (Dench) spends the whole film trying to reunite the Blonde Bombshells to play at her granddaughter's school dance. And before you roll your eyes, imagine how difficult and courageous it would be for a bunch of sexegenarian women to step onstage in front of the Britney Spears generation following an act called "Open Wound."In an age when actresses careers are over by the time they're 30, most bands' second album is a greatest hits compilation, and music more than a month old has almost no chance of airplay, it's great to see real talent, real music and a really good movie come from, where else, the BBC.I love this movie, and I know I'll watch it many more times, and enjoy it more each time. Question: is it a positive review?
answer:

yes