instruction:
In this task, you must classify if a given review is positive/negative, indicating your answer as P or N.
question:
a cop with a troubled personal life .
a ruthless villain .
a friend of the cop .
a _ dead _ friend of the cop .
a quest for vengeance .
a new partner .
a romantic interest .
a chase scene .
a chase scene
_ in san francisco _ .
a woman in peril .
a confrontation .
an explosion .
the end . yawn .
yawn .
yawn .
the preceding has been the plot of approximately twelve thousand and six action films ; this one just happens to be called metro .
i have learned to expect little from films like metro , and consequently i am bored by them more often than i am genuinely disappointed . with eddie murphy on board , however , you hope for something extra , some kind of spark .
when a film makes watching eddie murphy a tedious experience , you know it is doing something terribly wrong .
murphy stars as scott roper , a hostage negotiator for the san francisco police department who is exceedingly good at his job .
with his personal life , he is considerably less successful , facing an unhappy ex - girlfriend named veronica ( carmen ejogo ) , a gambling problem and a mountain of debt .
then his professional life gets a jolt as well when a friend and colleague ( art evans ) is murdered while investigating suspected jewel thief michael korda ( michael wincott ) .
finding korda becomes very personal to scott , and he joins with new partner kevin mccall ( michael rappaport ) to foil korda during an attempted heist .
but all is not well even with korda in jail , as scott , veronica and kevin all continue to face life - threatening danger .
metro ( the title , in case you are wondering , means absolutely nothing ) is so badly put together that even the most casual viewer may notice the miserable pacing and stray plot threads .
in the first place , korda 's rage over being discovered before he can make his big score is rendered completely pointless when he proceeds to hit the target anyway ( and , incidentally , to screw it up ) .
a reference to payoffs in the police department , followed by a conspicuous decision to keep scott off the korda case and a couple of pointed glances , is dropped abruptly with no resolution after about forty - five minutes ; even the relationship between scott and new partner kevin is so perfunctory , with kevin disappearing entirely after taking a bullet for scott , that you may yearn for bickering buddies .
worst of all is a plot structure which places the main villain ( the always menacing michael wincott ) behind bars for far too long , leaving a lot of time to kill with the tedious reconciliation of scott and veronica .
you ca n't blame murphy for being unable to muster any enthusiasm for the scenes with his bland leading lady , but he should have known better than to take this role at all .
scott roper exists in an uncomfortable middle ground between the kind of street - wise fast - talker murphy has built a career on and an actual three - dimensional character , and murphy is never able to reconcile the two .
the script seems to have been doctored for him , with a gambling problem turned into a bit of character color and his supposed inability to form relationships turned into a cause for gags rather than actual conflict , yet there is still too little comedy for murphy to work with .
for much of the film , he walks around with an intense frown , and it is over 90 minutes into metro before you hear that trademark laugh for the first time .
murphy is stranded with too few solid punch lines , and nearly all of the ones he does have bounce of ejogo and fall to the ground limply
.
i suppose i should give director thomas carter credit for taking the obligatory san francisco car chase ( how much do you want to bet on the likelihood of seeing a car soar over a hill ? )
and doing a few interesting things with it .
as vehicles are sent flying and passengers sent sprawling by a runaway cable car , it is possible at least for a moment to take some pleasure in a goofy spin on a familiar situation .
carter does an even better job by taking that old suspense stand - by -- the medicine cabinet mirror which will close to reveal a killer standing behind someone -- and using it to defuse tension not once , but
_ twice _ .
the fact that carter was able to demonstrate even that much recognition of cliches , and a willingness to subvert them , makes his involvement in the rest of the disaster
that is metro all the more puzzling .
an action film like this plods so relentlessly and obviously from point a to point b to point c that you might find yourself shouting out " point c ! " while they 're still getting to point b , or getting up with the rest of the audience after the big explosion which signals that nothing else of any consequence is going to happen .
answer:
N


question:
the idea at the center of the devil 's advocate , which is , thus far , one of the three or four best films of 1997 , is that no matter what decision is made , evil will triumph -- god is a trickster , satan is a humanist -- " the last humanist " .
he appears in many guises , and seduces many men and women -- in his own words , " vanity -- by far my favorite sin " .
al pacino plays this role with relish , and gets to chew some delectable lines ( " lemme givya a piece o ' inside wisdom on god .
..
" , " i have a million names . .. " ) , as john milton -- the devil .
the main idea -- that he can appear as anyone , in any form ( in this case , a buisness man )
, harkens mainly back to terry gilliam 's the time bandits . but the film ,
is something else , something original .
part of what makes it so very good , is that it never takes itself too seriously -- it dabbles with morality , vanity , death , and child abuse , but does n't try to become any profound study of power .
this is a marvelous confection -- cocky , funny , thought provoking .
it is also entertaining .
there is no way you could possibly predict the ending
-- it pulls back upon itself , drawing purely out of the mind 's eye .
the final shot is more creative , more daring , more challenging , then anything in cinema since the white sock in the coen 's fargo .
the central themes are fascinating ( sometimes reminiscent of james ' the turn of the screw , and oates ' accursed inhabitants of the house of bly ) , and the product that is built around it really wows .
its nice to know that things like this are still being made .
answer:
P


question:
in some respects , rush hour is the ultimate exercise in cliched filmmaking .
the hero is the renegade cop that prefers to work alone .
the cop in question can not solve the case until he gets in trouble .
all chinese people are somehow involved in the criminal element .
the duo must always be completely mismatched .
the hero has to say some smart - assed comment before ( and after ) shooting someone .
however , that does n't necessarily make for a bad film .
rush hour is jackie chan 's first major hollywood film since the dismal the protector ( 1985 ) .
proving once again that hollywood can learn many things from foreign film markets ( ie : hong kong ) , jackie chan is given much more free reign than before .
still , some die - hard
jackie chan fans may be disappointed , as even chan himself has voiced displeasure over the length of the fight scenes ( which he views as too short , according to one interview ) .
this film takes a familiar theme of east meets west .
jackie chan is lee , the straight laced inspector who is imported to help deal with a kidnapping case , while chris tucker is carter , the loudmouthed , destructive cop that is ` promoted ' to the fbi to help him .
or , at least , so he thinks ( also another classic notion in action films : the fbi must always get in the way of our heroes ) .
despite the necessary conventions of action films , rush hour is some of the most fun you 'll spend and hour and forty minutes watching .
jackie chan continues to be one of the most exciting martial artists on the big screen , continuing to perform his own stunts and dazzling audiences with his flashy kicks and punches .
chris tucker , familiar from his whiny , annoying role in the fifth element is more palatable , complementing jackie chan 's straight - laced character .
however , jackie chan
still maintains his comic - slapstick edge , as expected of him and his films .
perfectly downplaying the ` fish - out - of - water ' routine through his character 's attempts at mixing into american culture , he makes up for the down time his character experiences .
when he is in action , however , you 'll be amused and dazzled .
still being inventive in the use of objects to beat people up ( in this case , a steering wheel , a serving tray , and a barstool ) , jackie chan proves to be the pioneer of slapstick kung fu .
chris tucker 's character may come across as irritating , yet is also humorous . since he 's not a physical actor to the level of jackie chan , he uses his main weapon : his mouth ( hence , the tagline , ` fastest hands in the east meets the fastest mouth in the west ' ) .
while dialogue is not necessarily shakespeare , it is appropriate for the film and still very funny .
while not necessarily poignant , attempts at character development and growth between characters come off surprisingly well .
lee 's ` knowledge ' of american pop culture ( ` that 's the beach boys ! ' ) when contrasted against carter 's lack of knowledge of chinese culture makes for an interesting scene where lee teaches carter the kung fu disarming trick , while carter teaches lee hip - hop dance moves .
while rush hour is not at the same level as police story 3 and 4 ( known in north america as supercop and jackie chan 's first strike , respectively ) , it more than makes up for the poorly received films operation condor and mr . nice guy . with its appropriate mixture of high kicks and lots of laughs , it makes for a fun film .
as well , it is a true departure from jackie chan films , as it is missing one common element : a whiny female co - star .
answer:

P