In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

Q: Review: Master director Ching Siu Tung's perhaps most popular achievement is this series, A Chinese Ghost Story 1-3. Chinese Ghost Story stars Leslie Cheung in some distant past in China as a tax collector who is forced to spend a night during his "collecting trip" in a mysterious castle in which some strange old warriors fight and meet him. Beautiful actress Joey Wang/Wong is the ghost who lives in that castle and is under a domination of one powerful demon, a wood devil who collects human souls for herself/itself with the help of her beautiful ghosts. Leslie and Joey fall in love, and even though ghosts are not allowed to live with humans, they decide to break that rule and live happily together for the rest of their lives. This is not what the wood devil thinks and our protagonists have to fight for their lives and their happiness.This film is no less full of magic than other films by Ching Siu Tung. His masterpieces include Duel to the Death (1983) and the Swordsman series, which all have incredible visuals and kinetic power in their action scenes. Ghost Story is full of brilliant lightning and dark atmosphere, which is lightened by the strong presence of the beautiful and good willing ghost. The effects are simply breath taking and would work at their greatest power in the big screen. The camera is moving and twisted all the time and it adds to the fairy tale atmosphere this film has. There's plenty of wire'fu stunts, too, and even though some think they are and look gratuitous or stupid when used in films, I cannot agree and think they give motion pictures the kind of magic, freedom and creativeness any other tool could not give. When people fly in these films, it means the films are not just about our world, and they usually depict things larger than life with the power of this larger than life art form.The story about the power of love is pretty touching and warm, but the problem is (again) that the characters are little too shallow and act unexplainably occasionally. Leslie and Joey should have been written with greater care and their characters should be even more warm, deep and genuine in order to give the story a greater power and thus make the film even more noteworthy and important achievement. Also, the message about love and power of it is underlined little too much at one point and it should have been left just to the viewer's mind to be interpreted and found. Another negative point about the dialogue is that it's too plenty and people talk in this film without a reason. That is very irritating and sadly shows the flaws many scriptwriters tend to do when they write their movies. People just talk and talk and it's all there just to make everything as easy to understand as possible and so the film is not too challenging or believable as it has this gratuitous element. Just think about the films of the Japanese film maker Takeshi Kitano; his films have very little dialogue and all there is is all the necessary as he tells his things by other tools of cinema and never talks, or makes other characters talk too much in his movies. This is just the talent the writers should have in order to write greater scripts.Otherwise, Chinese Ghost Story is very beautiful and visually breath taking piece of Eastern cinema, and also the song that is played in the film is very beautiful and hopefully earned some award in the Hong Kong film awards back then. I give Chinese Ghost Story 7/10 and without the flaws mentioned above, this would without a doubt be almost perfect masterpiece of the fantasy genre. Question: is it a negative review?

A: no
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Q: Review: The great cinematic musicals were made between 1950 and 1970. This twenty year spell can be rightly labelled the “Golden Era” of the genre. There were musicals prior to that, and there have been musicals since… but the true classics seem invariably to have been made during that period. Singin’ In The Rain, An American In Paris, The Band Wagon, Seven Brides For Seven Brothers, Oklahoma, South Pacific, The King And I, and many more, stand tall as much cherished products of the age. Perhaps the last great musical of the “Golden Era” is Carol Reed’s 1968 “Oliver”. Freely adapted from Dickens’ novel, this vibrant musical is a film version of a successful stage production. It is a magnificent film, winner of six Oscars, including the Best Picture award.Orphan Oliver Twist (Mark Lester) lives a miserable existence in a workhouse, his mother having died moments after giving birth to him. Following an incident one meal-time, he is booted out of the workhouse and ends up employed at a funeral parlour. But Oliver doesn’t settle particularly well into his new job, and escapes after a few troubled days. He makes the long journey to London where he hopes to seek his fortune. Oliver is taken under the wing of a child pickpocket called the Artful Dodger (Jack Wild) who in turn works for Fagin (Ron Moody), an elderly crook in charge of a gang of child-thieves. Despite the unlawful nature of the job, Oliver finds good friends among his new “family”. He also makes the acquaintance of Nancy (Shani Wallis), girlfriend of the cruellest and most feared thief of them all, the menacing Bill Sikes (Oliver Reed). After many adventures, Oliver discovers his true ancestry and finds that he is actually from a rich and well-to-do background. But his chances of being reunited with his real family are jeopardised when Bill Sikes forcibly exploits Oliver, making him an accomplice in some particularly risky and ambitious robberies.“Oliver” is a brilliantly assembled film, consistently pleasing to the eye and excellently acted by its talented cast. Moody recreates his stage role with considerable verve, stealing the film from the youngsters with his energetic performance as Fagin. Lester and Wild do well too as the young pickpockets, while Wallis enthusiastically fleshes out the Nancy role and Reed generates genuine despicableness as Sikes. The musical numbers are staged with incredible precision and sense of spectacle – Onna White’s Oscar-winning choreography helps make the song-and-dance set pieces so memorable, but the lively performers and the skillful direction of Carol Reed also play their part. The unforgettable tunes include “Food Glorious Food”, “Consider Yourself”, “You’ve Got To Pick A Pocket Or Two”, “I’d Do Anything” and “Oom-Pah-Pah” – all immensely catchy songs, conveyed via very well put together sequences. The film is a thoroughly entertaining experience and never really loses momentum over its entire 153 minute duration. Sit back and enjoy! Question: is it a positive review?

A: yes
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Q: Review: This was just another marvelous film of the Berlin Festival. But unlike "Yes", by Sally Potter, which I had seen some days before, where after leaving the cinema I felt a strong desire of wishing to embrace the whole world and was just happy to be alive, this time quite the opposite thing happened: there was something that dragged me down, and the air suddenly felt cold and hard to breathe. It was as if, all of a sudden, there was nothing left, all hope, all future had been taken away to a dead place.Nina's life seemed to be dismal and locked, but then, one lovely day, there appears that kind of luminosity that opens up the horizon and makes her believe in the fulfillment of her dreams. There was nobody at her side but suddenly she finds a companion, just out of nothing, someone who was able to share the most hidden feelings of her life. That person was Toni, a vagabond girl who does not seem to have any roots, just like herself.But the film's title is "Ghosts", and ghosts appear and disappear as they wish, there is no way to retain them Ghosts also represent the hidden fantasies of people, strange ideas that occupy your mind and are only perceived by yourself, hiding away from all other people. Françoise, a French woman, is a victim of such ghosts. She once lost her child daughter in Berlin, who apparently had been robbed from her in a supermarket, in just one moment of inattentiveness. Now time has passed, and Françoise is back in Berlin, still looking for the missing child.Nina could be that child, after all she has got that same scar at her ankle and the heart-shaped birthmark between her shoulder blades which seems to prove her true identity.And Nina adopts that idea, after all she is not only in desperate need of a companion, she also longs for a mother. But in the end she is empty-handed, Toni has disappeared with a man, and her supposed mum turns out to be a sick woman. "Marie is dead," concludes Françoise's husband, and the statement could not be more disillusioning. Nina is just a "niña", a girl without name, there is no hope for any divine fulfillment. There is no Marie in this world to accompany our lonely lives. Therefore, in the end, we see Nina all alone, about to walk along the road that has opened up before her, into a future that seems joyless and uncertain. Question: is it a negative review?

A:
no
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