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

[EX Q]: linda fiorentino disappeared off the radar after a deservedly heralded turn in the cable pic the last seduction , and her being cast as dogma 's lead is nothing short of inexplicable .
she 's still in fine form
as bethany , an abortion clinic worker who 's lost her faith .
one night , a visitor from heaven makes a fiery entrance in bethany 's bedroom .
he is metatron ( alan rickman ) , the voice of god , and he needs her help : she must stop two fallen angels from entering a new jersey church - the fate of the universe depends on it .
god would do it him / herself , but he /
she is . . .
missing , having taken up human form somewhere on earth never to be heard from again .
bethany is joined on her road trip to the garden state by the " prophets " jay ( jason mewes ) and silent bob ( kevin smith , doing double - duty ) , the slacker minstrels who have appeared in all of smith 's films thus far .
at some point , rock drops naked out of the sky as rufus , the undocumented ( and very black ) " thirteenth apostle " , and offers his assistance , as does divine stripper serendipity ( salma hayek ) .
it 's a wild ride .
they 're in pursuit of loki and bartleby ( damon and affleck , respectively - this is probably the sharpest either has ever been ) , who were banished from heaven to wisconsin and have discovered a dogmatic loophole that will enable their return .
loki decides to wreak havoc along the way with the knowledge that his sins will be absolved at the pearly gates .
at one point , he terrorizes a boardroom full of suits with an angry combination of words and bullets .
it 's a nasty , guiltily enjoyable little scene that asks , " how corrupt are you ? " .
wings of desire
this ai n't .
since debuting with clerks , smith has grown as a director , particularly in terms of working with actors .
( chris rock is this film 's only weak link - between jokes , he 's wooden . )
his no - frills visual style has n't changed much over the years , though ( dogma 's widescreen compositions at least have blockbuster affectations ) , nor has his writing - his characters still sit around delivering one caustic , hilarious speech after another .
dogma chips away at big religious issues - namely , the hypocrisy that accompanies any organized system of beliefs - eloquently and articulately , but a few of the monologues sound too much like blatant exposition .
as well , the verbal introduction of each new person seems to take forever .
any movie with this much weighty talk would have a hard time maintaining momentum ( hurlyburly , anyone ? ) , and eventually dogma 's pacing goes slack .
a long diatribe from bartleby late in the game , in which he laments the destiny of celestial beings , comes at a point when we 've heard enough .
because his change of heart ( bartleby is initially the good cop to loki 's bad ) drives the climax , said rant is given a great deal of screen time .
sure , affleck deserved a big moment ( damon steals their scenes together prior ) , but it ultimately makes the film and us feel bloated .
like tarantino , smith was a video - age sponge who became a sample - mad indie filmmaker .
dogma pays welcome homage to an eclectic batch of movies , including indiana jones and the last crusade , with silent bob doing his best harrison ford , and weird science - a shit demon attacks our heroes !
smith also has a kitchen sink brand of humour : his dexterous maneuvering between the satirical ( a cardinal played by george carlin attempts to mount a publicity campaign with the slogan " catholicism
wow ! " )
and the scatalogical ensures that no lover of comedy will leave
dogma feeling malnourished .
i bust
( ed ? )
a gut on several occasions .
proceedings also get off on the right foot with the opening with
the funniest disclaimer ever .
it 's a disclaimer unlikely to put protestors at ease , for to read it , one actually has to see dogma .
the prerelease ballyhoo is in the tradition of the last temptation of christ 's , martin scorsese 's 1988 adaptation of nikos kazantzakis ' controversial novel , in that it is not directly linked to the picture 's content but to rumours and heresy .
there 's a famous anecdote about fletch director michael ritchie inviting picketers of the last temptation of christ into a screening on his dime , just so they could know for certain what they were rallying against .
( not one of them had watched it . )
every single person refused .
smith and scorsese have a lot in common , and so do the two films in question , because both smith 's bethany and scorsese 's jesus are hollow shells without their faith .
in fact , dogma 's denouement ( which follows a thrilling showdown that 's worth the wait ) is a catholic love - in , a veritable recruitment poster .
( i felt sentimental about a religion i do n't belong to .
now that 's powerful filmmaking . )
smith is nothing if not sincere about his own devotion to god , and that spirituality shines through
.
it 's enough to make me forgive dogma for its editorial sins .
my religion is movies .
when the catholic league beats on dogma for imaginary crimes against a doctrine , in a roundabout way they 're attacking what i live for : freedom of expression through celluloid .
i therefore feel that , although i 'm no bible - thumper , i 'm at least as qualified to criticize dogma as william donohue and his followers .
[EX A]: P

[EX Q]: best remembered for his understated performance as dr .
hannibal lecter in michael mann 's forensics thriller , manhunter , scottish character actor brian cox brings something special to every movie he works on .
usually playing a bit role in some studio schlock ( he dies halfway through the long kiss goodnight ) , he 's only occasionally given something meaty and substantial to do .
if you want to see some brilliant acting , check out his work as a dogged police inspector opposite frances mcdormand in ken loach 's hidden agenda .
cox plays the role of big john harrigan in the disturbing new indie flick l .
i .
e . , which lot 47 picked up at sundance when other distributors were scared to budge .
big john feels the love that dares not speak its name , but he expresses it through seeking out adolescents and bringing them back to his pad .
what bothered some audience members was the presentation of big john in an oddly empathetic light .
he 's an even - tempered , funny , robust old man who actually listens to the kids ' problems ( as opposed to their parents and friends , both caught up in the high - wire act of their own confused lives . )
he 'll have sex - for - pay with them only after an elaborate courtship , charming them with temptations from the grown - up world .
l .
i .
e . stands for long island expressway , which slices through the strip malls and middle - class homes of suburbia .
filmmaker michael cuesta uses it as a ( pretty transparent ) metaphor of dangerous escape for his 15-year old protagonist , howie ( paul franklin dano ) .
in his opening voice - over , howie reveals a morbid preoccupation with death on the road , citing the l .
i .
e .
highway deaths of filmmaker alan
j .
pakula , songwriter harry chapin , and his own mother on exit 52 .
he 's both fascinated and disturbed by the l .
i .
e . , and those feelings are projected onto big john ( who follows howie around in his bright red car , but never makes a move to force the boy to do something he does n't want to do .
this makes him much more complex than the usual child molesters seen in movies -- he 's a beast , but ashamed of it . )
l .
i .
e . would have worked best as a half - hour short film about howie 's ill - advised foray into big john 's haven .
there is unnecessary padding with howie 's miserable dad ( bruce altman ) in the hot seat for a white - collar crime , degenerate youngsters who get their kicks from robbing middle - class houses , and some homoerotic shenanigans with wise - ass gary terrio ( billy kay ) , a handsome artful dodger . rather than add to the themes of suburban ennui ( not that we needed another movie on that subject ) , these awkward subplots pad out the running time to adequate feature length .
concurrently , the relationship between howie and big john is evenly paced and exceptionally well acted .
cox , sporting a baseball cap and a faded marine tattoo , is all bluff and bluster .
dano is quiet and at first glance seems so withdrawn as to be transparent .
we 're so used to child actors whose dramatic choices are broad and obvious ( calling haley joel ! ) , it 's surprising to see one who actually listens throughout any given scene .
the restraint is admirable .
but l . i .
e . 's
screenplay does n't always give them the best material .
when howie reads big john a walt whitman poem , the moment feels a bit too precious .
director michael cuesta lingers on an ecstatic reaction shot of big john , who may as well be hearing glenn gould performing bach 's goldberg variations .
it 's too much .
there are also some obvious dramatic contrivances involving big john 's other boy toy ( walter masterson ) , jealous over the newbie .
this plot thread predictably leads to violence .
not content to be a haunting , observational portrait of teen alienation in a royally screwed up world ( like terry zwigoff 's superb ghost world ) , cuesta lacks the confidence in his own work to end on an ambivalent note .
it 's typical of unimaginative cinema to wrap things up with a bullet , sparing the writers from actually having to come up with a complex , philosophical note .
in this regard
, l . i .
e .
( and countless other indie films ) share something in common with blockbuster action films : problems are solved when the obstacle is removed .
how often does real life work this way ? to extend the question : if a movie is striving for realism , do dramatic contrivances destroy the illusion ?
[EX A]: N

[EX Q]: one of the first films of 1999 is this mtv pictures release which marks the first leading feature role for james van der beek , the star of the wb 's runaway hit dawson 's creek .
following in the foot steps of mtv 's two other live action films , joe 's apartment ( 1996 ) and dead man on campus ( 1998 ) , varsity blues is a bad film and is unlikely to cause much of a sensation in the marketplace .
set in west cannan , texas , the film examines the small town obsession with high school football through the eyes of second string quarterback john " mox " moxon ( van der beek ) .
we know he 's smart because he reads kurt vonnegut instead of the playbook .
coach bud kilmer ( jon voight ) has been around so long there is actually a bronze statue commemorating him .
the star quarterback , lance harbor ( paul walker ) , is a handsome , blonde , hero who has his own billboard in his front yard and dates the sexy head cheerleader , darcy ( ali larter ) .
also on the team are an enormous guy ( ron lester ) with some health problems and the token african - american team member ( eliel swinton ) whose only real dialogue scene deals directly with the color of his skin .
when lance is seriously injured , mox gets his chance to shine and he runs with it , undermining kilmer with his unusual playing strategies .
his relationship with his dutiful girlfriend , jules ( amy smart ) , is threatened and there 's a big game at the end .
guess who wins ?
nothing about varsity blues is inspired and the whole film simply moves through the sort of conventional motions that coach kilmer would love .
there 's a chance for some smart satire on small town obsessions but the humor here is decidedly lowbrow
.
van der beek does a decent job of carrying his first film although a silly accent trips him up sometimes .
also , the role is n't very much of a stretch from his dawson leary character .
he 's still a pseudo - intellectual , whiny , nice guy , except here he also happens to be a jock .
voight is a terror as he chews up every single piece of scenery and spits it out .
the other adults are all notably awful while the younger performers do n't fare much better
.
on the positive side , walker is a charismatic actor who is due for a breakout role following this and his supporting turn in pleasantville ( 1998 ) .
scott ( son of james ) caan has some lively moments as tweeder , the team 's wild man .
larter , as a gorgeous seductress looking for a one way ticket out of texas , gets to show off the film 's most interesting costumes , including a very eye - opening " whipped cream bikini .
"
it 's interesting to note that the film definitely earns its r - rating with a lot of harsh language , alcohol abuse and an unusually high amount of nudity ( including a gratuitous trip to a strip bar that reveals a not very surprising surprise ) .
all this is likely to come as a shock to the young female fan base of dawson 's creek , presumably the target audience for the picture .
director brian robbins previously helmed the kids feature good burger ( from nickelodeon films , a sister company of mtv ) and changes directions here a bit but still fails to make much of an impression .
the look of the movie is as bland
as the town and characters who populate it .
the football scenes are generally unexciting and the entire film looks a bit washed out .
there 's an ok soundtrack featuring music from collective soul , foo fighters , green day and aaliyah
but it 's not as impressive as one would expect from a mtv film .
[EX A]:
N