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

[Q]: jacques tati 's 1953 classic " les
vacances
de m . hulot " ( also known as " mr .
hulot 's vacation , " in english ) ought to be the textbook on how to do non ?
dialogue comedy in film .
the characters hardly ever speak to each other directly , and the film operates on the paper ?
thin premise that monsieur hulot , played by tati himself , is awkward and clumsy and generally manages to annoy the other guests at the beach resort hotel where he is taking a week 's vacation .
yet the film had me beside myself laughing more consistently than any in recent memory .
part of the reason the film works so well is the clever setup for the various gags .
slapstick has often been regarded as an unsophisticated and even crude form of comedy , but i think part of the reason for this is that it often seems forced : you can only see movie characters start running after something and then crash face - first into a pole so many times before you start to wonder what all these poles are doing there in the first place or why these people do n't watch where they 're going .
in " les vacances de m . hulot , " the gags build upon each other and often start out relatively low - key .
in one sequence , for example , hulot is painting the side of his small row boat on the beach when , while his back is turned , the paint can gets caught up in the oncoming waves , washes away , then comes back up on the other side of the boat .
while crossing over to get the can , hulot steps in the boat and unknowingly cracks it .
when he actually takes the boat out into the water , it breaks in half , but the two halves flip up against each other , trapping him inside as the bystanders mistake it for a shark fin and panic on the beach ensues .
tati does n't waste a single opportunity for humor ;
scenes that might have yielded one joke in most comedies are good for at least four or five in this film .
it has been said that comedy relies on frustrating the audience 's expectations , and " les vacances de m . hulot " succeeds brilliantly in that area as well .
tati accomplishes this largely through a sort of deadpan understatement .
when hulot goes into a separate room during dinner and starts playing a record at defeaningly loud volume , no fights or shouting matches ensue ; instead , the waiter calmly walks in and shuts off the power in the room , disconnecting the record player and leaving a puzzled hulot sitting in the dark .
tati also uses running gags to this effect , allowing them to keep running far longer than most comedy directors would ; more often than not , we can see them coming and think , " oh , he 's not going to do that again , " but , lo and behold , he does .
for example , there is a recurring joke in which hulot 's noisy , sputtering car engine wakes everyone in the middle of the night as an exterior shot reveals the hotel 's lights coming on one by one .
then this image turns up again in the finale , which i will not give away other than to say that involves a lot more noise in the middle of the night than a car engine could ever produce .
the ending is one of two elements that really make this a four - star film as opposed to merely an above - average , clever comedy . as much as i was laughing during this film , i was thinking to myself occasionally that tati had to top himself at the end to really make this work as a complete viewing experience ; suffice it to say that he did .
the other important aspect is that the film never seems disdainful of its characters .
it easily could have turned the tables on hulot and had the other guests exact some kind of revenge on him ; alternatively , it could have portrayed the others as humorless curmudgeons .
instead , tati seems to regard his characters with cheerful amusement more than anything else and invites the audience to like them , however strange or irritating they might seem .
" les vacances de m .
hulot " is not subtitled , but the dialogue is sparse and for the most part not terribly essential to the flow of events .
anyone with a taste for this kind of absurd humor ought to make this film their next rental from the video store .
note : " les vacances
de m . hulot " was not rated by the mpaa .
it would at most receive a pg rating .
[A]: P


[Q]: call " hush " " stop or my mom will kill .
"
or " mommy fearest .
"
or " the hand that robs the cradle .
" call it whatever you want , but certainly do n't see it unless you 're in desperate need of a bad movie - induced chuckle -- " hush " scores
so many unintentional guffaws that it almost qualifies as a guilty pleasure .
chalk its losses up to frequent stupidity lapses and apparent post - production tinkering ( it was supposed to open about a year ago ) , the latter of which appears to have given " hush " a send - off that 's downright infuriating .
it 's too bad that " hush " is so laughable , because the on - screen talent -- including the pairing of gwyneth paltrow and jessica lange -- is nothing to laugh at .
paltrow and johnathon schaech play helen and jackson , a photogenic new york couple on their way to spend christmas vacation at his wealthy , well - to - do family 's horse farm / estate kilronan .
jackson 's mother martha ( lange ) runs kilronan all by herself , and her genteel southern hospitality makes helen feel welcome immediately -- even if her first meeting with martha takes place while helen is in the altogether , caught red - handed after a bedroom romp with her husband - to - be .
but it seems that martha 's friendly smile masks a much more threatening demeanor ; she 's what you 'd call someone who loves too much .
martha eagerly , deviously wants a grandchild , and then helen will be expendable , as far as she 's concerned .
if there 's one reason to catch " hush , " it 's lange .
she treats the pedestrian screenplay better than it deserves to be treated , injecting martha ( poorly written though she may be ) with a little empathy to level out the psycho - playing field .
when she delves into martha 's dark side ,
predictable cliches
-- chain - smoking , staring in mirrors , praying in a confessional to a priest who is n't there , poking a hole in helen 's diaphragm so she 'll become pregnant ( and she does ) -- abound , but
it 's moderately entertaining junk
because lange is such an interesting actress to watch .
veteran performer nina foch is smart and tart as jackson 's wheelchair - bound paternal grandmother .
the rest of the cast looks ill and uncomfortable , especially paltrow .
but can you really blame them ?
the character relationships in " hush " hold a certain amount of promise , at least until their psychological impact is blown out of the water by sheer stupidity .
idiotic situations
( martha yells at a nearby horse so it will bolt up and knock helen over ) compliment idiotic dialogue
( " why did you yell ?
" helen yells back at martha ) , and the film takes the form of one of the shoddier fill in the blank - from - hell flicks ever made .
you can see through a great deal of martha 's actions and lies from their conception ; why do people who have known this woman for years longer than we have never figure things out ? does nobody communicate or read the newspaper in this town ?
if any of her potential victims thought , acted or behaved like normal people , " hush " would be a really short movie .
and then there 's the climax and ending , which abruptly come when helen starts having contractions after eating some pound cake spiked with a labor - inducing drug normally used on horses .
after a really weird chase scene , martha calmly knits in a rocking chair while forcing helen to give birth in a bed all by herself .
i wo n't spoil what happens next except to say that it 's contradictory , illogical and ( probably , since i 'm no doctor ) medically impossible .
the final scene offers no closure , no resolution , no confrontation whatsoever .
it 's just there , dangling amidst silent displeasure .
no one should like this ending , regardless of their feelings on the preceding material .
perhaps " hush " 's title is a plea to silence its audience 's likely bitter word of mouth while exiting the theater .
[A]: N


[Q]: america has finally gotten what it 's needed for years : a compassionate sincere president with impressive ethics and charisma .
regretfully it 's only a movie .
president james marshall ( harrison ford ) is fed up with terrorist activities .
teaming up with the russian government , he orders a strike force capture of alexander radek , a reactionary general ready to re - unite the soviet union under his fascist reign .
during a celebration dinner , marshall announces to the world that he will send troops to fight oppression wherever it exists .
"
it 's your turn to be afraid , " he declares .
returning home on air force one , he gets the chance to demonstrate his words personally .
ultra - nationalist militants loyal to radek and lead by ivan korshunov ( gary oldman ) hijack the plane threatening to kill a hostage every half hour until the general is released .
marshall has a chance to escape in a jettisoned capsule ( which clinton says does n't exist in real life ) but refuses , preferring to stay and fight .
director wolfgang peterson ( " das boot " , " in the line of fire " , " outbreak " takes the over - used " die hard " theme and
gives us something new in a film that combines brilliant acting with hold - your - breath intensity .
if you can take your eyes off the screen , steal a look at the audience .
everyone is totally engrossed .
the two actors do what they do best and they are probably the best there are at it
.
oldman has become typecast as a psychotic sadist and no wonder --
he does it so well .
when he engages the teenage first daughter in sensitive conversation about his family and the next minute threatens to blow a hole in her forehead , you know that he 's over the edge in the manner that people with a cause can become .
you are convinced that young alice could end up terminated at any time .
when korshonov executes passengers , there is a frightening reality to it .
the guns in this film are deadly weapons , not cartoons .
harrison ford has done one role for several years .
his mastery of the man in the suit propelled into desperate action is in top form here .
marshall is a medal of honor recipient who now has a desk job .
realistically , he 's a man afraid , but not afraid to act .
ford is one of the few actors that could make us believe that the president of the united states could be an action hero .
indiana jones in the oval office .
he and oldman 's archetypes match up perfectly .
the other roles also go to accomplished actors .
glenn close as the determined but unsure vice - president is the picture of an executive forced into a position that she 's not quite ready for .
dean stockwell as defense secretary eager for the authority ( " i 'm in charge here ! " ) is her political nemesis and turns in a good alexander haig performance .
of course the politics are all wrong .
a cowboy president ( even down to his name ) with big guns shoots his way through problems .
much like the american collective memory of jfk 's camelot ,
the image is wondrous if you do n't look too deep .
the pulls on the patriotic heartstrings would be too much in any other film , but they work here .
no matter what political spin you put on the story , the movie is an outstanding one .
i left the theater feeling that there is hope for the country 's future : not a common belief nowadays .
now if we only can get ford to run for president .
just because one actor did n't work out as chief executive does n't mean that a different one could n't .
( michael redman has lost count of how many years he 's been writing this column -- 21 years . . .
22 years -- while watching the sunflowers outside his window swaying in the cool breezes . )
[A]:
P