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

and now the high - flying hong kong style of filmmaking has made its way down to the classics , and it is n't pretty .
this time out the nod to asia goes by way of france in the excruciating bland and lukewarm production of the musketeer , a version of dumas 's the three musketeers .
by bringing in popular asian actor / stunt coordinator xing xing xiong -- whose only prior american attempts at stunt choreography have been the laughable van damme vehicle double team and the dennis rodman cinematic joke simon sez -- our musketeers are thrown into the air to do their fighting .
the end result is a tepid and dull action / adventure rip - off that stinks of indiana jones and bad asian kung fu .
the story is so simple my grandmother could have adapted the screenplay .
d'artagnan ( justin chambers ) is the vengeful son of a slain musketeer .
he travels to paris to join the royal musketeers and find the man that killed his parents .
in paris , he meets the cunning cardinal richelieu ( stephen rea ) , who is trying to overthrow the king , and richelieu 's man - in - black associate febre ( tim roth ) , the killer of his folks .
he finds the musketeers in paris disbanded and drunk , so he rounds up aramis ( nick moran ) , athos ( jan gregor kremp ) and porthos ( steven spiers ) to free the musketeer 's wrongfully imprisoned leader treville from the king 's prison .
d'artagnan and his new frisky love interest / chambermaid francesca ( mena suvari ) play footsy and coo at each other as the cardinal hunts down the musketeers until finally the queen ( catherine deneuve ) ends up being captured by the menancing febre , forcing the musketeers to regroup , with d'artagnan leading the charge , and save the day .
director peter hyams ( end of days ) obviously wanted to blend eastern and western filmmaking styles , but here it 's a disaster .
one problem is that , in reality , most eastern films have taken their lead from western ones .
jet li 's high risk is a rip - off of die hard -- not the other way around .
ironically , there is awfully little swordplay or action in the film at all -- maybe ten minutes of swashbuckling spread over five scenes .
most asian action films carry the bulk of their production with 20- to 30-minute action sequences , because they know the scenes have to carry the picture .
the musketeer instead weighs itself down with a predictable and monotonous screenplay by gene quintano ( sudden death ) , horrible acting
by stephen rea and tim roth , and the prosaic attempt of justin chambers ( the wedding planner ) to deliver his mousy self as a leader .
chambers ' d'artangnan is n't a musketeer -- he 's a mouseketeer ! and hyam 's use of candles and torches to light the grime and filth of 17th century paris are well - noted , but that 's the only standout in
an overall flat production .
N

i do n't know what movie the critics saw , but it was n't this one .
the popular consensus among newspaper critics was that this movie is unfunny and dreadfully boring .
in my personal opinion , they could n't be more wrong . if you were expecting airplane !
-like laughs and agatha christie - intense mystery , then yes , this movie would be a disappointment .
however , if you 're just looking for an enjoyable movie and a good time , this is one to see
.
honest , it is .
this story is about a 4th network , wbn , taking to america 's airwaves in 1939 .
penny henderson ( mary stuart masterson ) , the station owner 's secretary , must deal with her overbearing boss , an unimpressed sponsor and writers ready to quite on a moment 's notice , partly due to the fact that they have n't been paid in weeks .
among the mayhem , she must also deal with her soon - to - be ex - husband , roger ( brian benben ) who desperately wants her back .
unfortunately , her problems only get worse as the night goes on and the body count rises without explanation .
while trying to woo penny back , roger must deal with the police and try to find the killer that lurks at wbn .
mary stuart masterson
does well in her role as penny ( i 'm trying to be unbiased so i wo n't tell you how amazing she looked ) , although brian benben gets most of the screen time .
along with the two leads , are several recognizable faces , including corbin bernsen ( l . a . law ) , michael mckean ( laverne & shirley ) and bobcat goldthwait .
the special effects are amazing , and fooled me ( which some may argue is n't very difficult to do ) in many scenes .
although the movie sometimes goes overboard with the physical comedy , it more than makes up for those mistakes throughout the movie .
overall , i gave it , or an , depending on what system you use .
some comments collected from friends :
P

the thought - provoking question of tradition over morals is the subject directly at the core of " leila , " a powerfully articulated and subtle drama from famous iranian director dariush mehrjui , that is his first motion picture in a prosperous thirty - year career to gain u . s . distribution , thanks to first run features .
although unfamiliar with mehrjui 's previous directing efforts , perhaps the reason for this is that , while the predicament at hand is no doubt exclusive to its own country , the heartbreaking and solely truthful emotions of the characters can easily be understood by all viewers .
set in modern - day iran , " leila " begins on the birthday of the title character ( leila hatami ) , after a brief prologue in which we are shown the first encounter between leila and her future husband , reza ( ali mosaffa ) . as leila and reza set off to visit his parents , and then hers , where a birthday celebration has been planned , things seem rosy for the couple on the outside , but for leila , life is n't quite as sweet .
earlier , on that very same day , leila had gone to see her physician , and has ultimately discovered that she holds very little chance of ever conceiving a child .
when all of the conditions are ruled out , and leila passes up the possibility of adoption , reza firmly and lovingly tells her that he married her , and does n't care at all about having children .
nonetheless , leila is ashamed that she will never be able to give him a baby , which is the societal norm , and her self - esteem is not helped at all by her domineering mother - in - law ( jamileh sheikhi ) , whose hopes to carry on the sacred family name vanishes once hearing the news ( reza is her only son ) .
bluntly explaining to leila that reza has always wished for children and , in a country where polygamy is an accepted tradition , she suggests that he take a second wife to bear a child with .
leila hesitantly agrees , and while she and reza are able to shallowly laugh afterwards about the hopeful womens ' inadequacies , reza finally does meet a woman whom he claims to like , even though he refuses to go through with the marriage if leila does n't give her full blessing .
there are no easy answers to be found within " leila , " a film that thoughtfully examines the central character 's unfortunate plight , as well as the inner workings of leila herself , told through matter - of - fact narration .
almost completely taken over by her own shame , she has no option but to agree to her forceful mother - in - law 's requests , even though she is unsure of how she will react if reza really does end up marrying another woman .
maybe because " leila " is from iran , the film will unquestionably be shocking for american audiences , since the concept of polygamy is looked upon by the characters as a more or less everyday occurrence .
leila , however , is unable to come to terms with the idea quite as easily , but feels it is her duty to make her husband happy , no matter what the circumstances .
one of the strongest aspects of the film is in its portrayal of the relationship between leila and reza , who married only three months after their first meeting , but obviously love each other very deeply .
it is this relationship that is the key ingredient to making what follows the opening scenes all the more powerful , and director mehrjui has succeeded just about as well as possible .
although seemingly unimportant at first glance , an early sequence where leila and reza are eating dinner and both are laughing , nearly uncontrollably , actually is one of the most vital moments in the first half , as it unmistakably sets the boundary for their unrequisite love for one another .
ditto for another scene in which reza gives leila a large stuffed animal for her birthday , and then reveals a beautiful necklace he has also gotten her .
these " small " moments are the perfect contrast for the solemn , outraging sequences in the latter half , in which reza drops leila off at the side of a busy road , and then zooms off to go on a date with another woman .
left there to ponder her quickly diminishing marriage , foolishly unbeknownst to reza , leila prays each time that the date will not go well , so she will be able to keep her husband to herself for a little while longer .
refusing to stay over at her parent 's house , the film inevitably leads up to the second wedding night between reza and another woman , and in a sequence of extraordinary sorrow and potency , leila finds her whole being emotionally torn apart , as she is closed up in an upstairs bedroom as the marriage proceedings are going on down below .
despite her initial agreement to such a thing , leila realizes how much she has been betrayed by reza , whom she believed cared for her as much as she did of him .
sure , the whole second marriage was his mother 's idea , but if he really did believe what he initially had told her about not wanting any children , then he could have still easily backed out , could n't he ?
in the pivotal role of leila , who appears in every scene , leila hatami is nothing short of remarkable , injecting her character with an equal measure of startling strength , unavoidable vulnerability , and utter despair .
unlike most american films , in which everything always has to be spelled out for audiences , hatami says much more with just an elusive expression on her face than could possibly have been conveyed by words .
every bit a perfect match for hatami is ali mosaffa , as reza , a man who , i believe , does hold an unbreakable bond with his wife , but is too naive to realize what he will be doing to leila if he marries someone else .
for all of its strong aspects , " leila " is n't a perfect film .
on a technical level , i found many blatant punctiation and spelling mistakes within the subtitles that need to be fixed .
and concerning the plot developments , the final five minutes ring false when compared with everything that has come before .
mehrjui 's decision to use an extremely stylized approach to the ending was the wrong choice , particularly in his almost comedic way of wrapping up the character of the spiteful mother - in - law , played memorably by jamileh sheikhi . despite these minor missteps , " leila " is an important motion picture that should definately be sought out upon its limited may 16 release at new york 's cinema village , and then on may 21 in la .
the thought - provoking questions that the film deals with is balanced evenly with its uneasy morales , and when the climax arrives , leila 's self - worth is startlingly stripped away to reveal a victim led into complete devastation , to which there is no return .
it 's difficult to not consider how leila 's culminating interior demise could have been so simply avoided , had the other characters taken a second out of their own selfish lives to consider what leila , the major pawn in the unforgivable scheme , was going through .

P