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

Q: us critic - type people are always shaking our heads and telling everyone that movies are n't thrill rides , but i think that " back to the future ii " is one of the few exceptions .
if the original film had the spirit of the 1950s , then this has the spirit of the 80s : full of fights ; chase scenes ; cliff hangers ; special effects ; some detective work ; and of course the vision of the high - tech future .
the film picks up exactly where the first film left off , with doc ( lloyd ) , marty ( fox ) , and jennifer ( elizabeth shue ) travelling 30 years into the future , because something bad is going to happen to marty and jennifer 's kids .
doc tells marty he must take his son 's place at an incident that will cause a chain reaction if marty mcfly jr .
says yes to griff ( wilson - in one of four different roles ) .
whoever said history tends to repeat itself was n't joking , especially when it comes to the movies .
essentially the same chase scene that marty endured in the 50s takes place again in the year 2015 , but it 's not as authentically exciting this time because it is so obviously a parody of itself .
at the end of the situation marty has changed the course of history for the better , and it seems like everything 's copasetic right ?
wrong .
since when do things go according to plan in the " back to the future " movies ?
there are so many minor conflicts and details that effect the plot and the direction of the story i wo n't even bother to list them all .
basically we get to see marty as an old man , his house , his family , etc .
we also go back to an alternate 1985 , and then back again to 1955 , with everything happening so fast the film never stops to catch a breath .
the films ' best aspect is the fact that it actually goes back to the first movie and shows a lot of the action that occurred from another angle .
it 's difficult to convey the sense of wild and zany fun without describing every little detail .
the only thing sacrificed in this film is the suspense .
instead of a grand finale , we get lots of little victories .
by the end everything is back to normal , but something happens that leads to yet another sequel , but it does n't seem gratuitous .
" back to the future part ii " is a really great adventure movie .
it certainly has more originality than other films but it lacks a certain charm that was dominate throughout its predecessor .

A: P
****
Q: pollock starring ed harris , marcia gay harden , tom bower , jennifer connelly screenplay by barbara turner and susan j .
emshwiller , based on the book " jackson pollock : an american saga " by steven naifeh and gregory white smith directed by ed harris
*
* * for more film , dvd and books about movie reviews , plus annual coverage of the toronto international film festival , visit _ film freak
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* * *
" how do you know when you 're finished making love ?
"
-jackson pollock to a life magazine reporter on recognizing when you 've completed a painting jackson pollock 's " making love
" quote is famous , but in practically the same breath , he said a more constructive thing , " it 's like looking at a bed of flowers -- tear your hair out over what it means .
"
it took him sixteen words to do as whole dissertations have tried and failed : equate god and abstract art and offer a kind of backhanded comfort to those confused to the point of resentment by the concept .
the biopic _ pollock _ , actor ed harris ' directorial debut
, reflects the second soundbite in how it accepts pollock 's creations as part of the order of things , and should similarly disarm haters of fine art .
arguably more than any other living actor , harris , who also plays _ pollock _ , embodies the archetypal working stiff , and his blue - collar demystification of pollock 's labour - intensive art , both as performer and director , makes for unpretentious cinema .
( from what i know of harris , he , like pollock , was not born gifted or lucky ; instead , a strong work ethic is the seed of his success . )
granted , it 's possible that _ pollock _ will alienate those same viewers perplexed by the imponderable " purpose " of pollock 's splatter series : the common thread between them is a lack of editorializing .
the movie _ pollock
_ is all purposeful gazes and silent exchanges dotted by tantrums , but the motivations are left to our own perceptions .
and it is a sympathetic yet not altogether forgiving film , as illustrated by a disheartening conclusion .
_ pollock
_ encapsulates the period in which he fought a losing battle against personal demons ( alcoholism , depression , and the general attendant miseries of an artist ) while finding a place of subconscious expression .
a brief introduction to pollock 's raging drunk side segues into his getting accosted by a fellow new york artist , lee krasner ( marcia gay harden ,
awarded a best supporting actress oscar for this brilliant portrayal ) , who works from the outside - in , pre - intellectualizing every stroke of her brush .
in a scene after they have moved in together and established adjoining studios , she asks what he hopes to achieve on his latest canvas , grilling him about the interplay of cubism and surrealism until he says , " you paint the fucking thing , " and leaves in a huff .
by the time they we d , she has become his de facto manager ; it is form marrying function and chaos marrying discipline , a most harmonious collision .
( krasner denies him a baby , indicating that it would upset the balance . )
such a union is destined to implode , and i hope i 'm not ruining the _ pollock _ experience by saying that it does .
while it is never depicted as a very romantic matrimony to start -- pollock and wife channel their passions elsewhere -- their symbiosis leaves each other picked dry after several years , and it comes down to krasner suffering one of pollock 's conniptions too many : " you are killing me !
you are killing me !
you are killing me ! "
( aside : harris ' own wife , amy madigan , is unrecognizable and exceptional as gallery diva peggy guggenheim . )
pollock himself moves on to dalliances with younger women like ruth klingman ( the scorching jennifer connelly ) , hoping , one supposes , to catch the revitalizing whiff of youth .
i love jackson pollock 's stuff and
i am enamoured of harris ' _ pollock _ as well .
it 's scrappy and observant ; no coincidence that its minor failings are the occasional invasive flourish , such as jeff beal 's hummable but no less lamentable score -- i ca n't imagine that pollock , or anyone , would paint to this music , which puts filling soundtrack voids ahead of complementing the images .
one of my favourite sequences is an eerily quiet re - enactment of hans namuth shooting that famous pollock footage in east hampton , long island ; the mounting tension is almost comic , as namuth keeps interrupting pollock 's process to reload his camera or take a dinner break .
a more seasoned director might 've been too arrogant to admit that not all artists or mediums are created equal .

A: P
****
Q: phew , what a mess ! for his fifth collaboration with director
rich- ard donner ( lethal weapon i - iii , maverick )
, mel gibson plays a motormouth , maybe mentally ill new york city cabbie , jerry , whose wild conspiracy theories are all but ignored by alice ( julia roberts , acting all serious ) , the justice department employee that he has a crush on .
she not interested , but another person is : a cia psychiatrist ( patrick stewart ) who promptly kidnaps him .
is one of jerry 's conjectures correct ?
* is * the metal strip in the new $ 100 bill being used to track your movements ?
is oliver stone still alive , because he cut a deal with george bush to spread * dis * information ?
is this movie really about
* any * of the crazed cabbie 's theories ?
no , no ,
and no . as it turns out
, there 's some other nonsense going on here , involving and revolving around jerry 's background .
( hint : pay attention to an early scene where jerry blacks out and flashes back , in quick succession , to images of an interrogation room , hypodermic needles , and ms .
roberts herself . )
the * initial * premise is pretty good and is played , for a while , at a delightfully dizzying clip .
mel is wider - open that we 've ever seen him and , if his character 's relationship with roberts ' initially strains credibility , their combined star power is blissfully intoxicating .
( the highest wattage of the summer , perhaps ? )
even when the plot contrivances begin to intrude , the two remain a randy dandy screen pair .
there 's a great scene in jerry 's fortress , er , apartment , with alice trying to act casual as her hyperactive host tries to remember the combination to a locked coffee bean container .
( which he stores in another locked con- tainer , his fridge . )
other hilarious moments , of which there are many , include a trio of memorable convention - breakers , where alice ditches a tail , jerry cold - cocks someone , and , later , eludes a foot pursuit , each in a uproariously unexpected fashion .
( that 's donner 's own ladyhawke playing in the theater , btw . )
let 's see , other pleasures include .
. .
a brilliant title sequence , a jazzy score from carter burwell , and the worth - paying - to - see sight of roberts pumping lead into one bad guy and slamming another 's head into a wall .
oh , pretty woman !
getting to the latter , however , requires slogging through an increasingly overburdened and ultimately unappealing story .
the last hour of conspiracy theory devolves from tolerable to torturous to almost unwatchable .
more stuff happens of the stupid shit variety than is worth mentioning here , except , perhaps , for a late sequence that has alice locating jerry in an abandoned wing of a mental hospital by hearing his voice carrying through the air ducts .
and here i thought it was wabbit season .
good god , who rewrites these movies ? and
do they arrive in nondescript black vehicles ?

A:
N
****