In this task, you are given a review of movie. Your task is to classify given movie review into two categories: 1) positive, and 2) negative based on its content.

Input: Consider Input: A young solicitor from London, Arthur Kidd is sent to a small coastal town of Crythin Gifford to oversee the estate of a recently passed away widow Mrs Drablow. While attending her funeral, a mysterious lady dressed in black catches his attention. Supposedly Drablow lived a reclusive life, and locals kept pretty quiet about her. After this he heads to Mrs Drablow mansion that can only be reached on a causeway through the swamp during low tide. There he encounters the woman in black again in cemetery out back of the house, and things begin to get creepy as terrifying noises start coming from the marshes. Now can Mrs Drablow's belongings and listening to her recorded dairy entries help Kidd figure out this gloomy mystery that the locals fear to talk about.Often highly regarded amongst horror fans as being one of the most chilling ghost stories ever and I can see their point. But only in doses does it draw upon tag. Yes, from what you can gather I was left a 'little' under-whelmed, despite really liking it. I was expecting goose bumps throughout the whole feature, but that's probably it expecting. Mainly I had a similar reaction with the 1980 haunted house thriller 'The Changeling'. When you hear so many good things, it's sometimes hard not get caught up with it.Anyhow what the British TV presentation of "The Woman in Black" effectively does is bring out a truly old-fashion, slow burn spine-tingling premise driven by its moody locations, disquieting atmosphere and first-rate performances. Subtly blankets the psychologically gripping story (adapted off Susan Hill's novel of the same name), as the simple mystery authentically opens up with a depressingly tragic tone and successfully characterises its protagonist. Little seems to happen, and can feel drawn out, but the fragile randomness of it catch you off guard. Whenever the camera focuses on the lady in black. Who mostly appears as a background figure, it's ultimately creepy. She might not appear all that much, but when she does. Talk about unnerving! That also goes for that downbeat conclusion. Pauline Moran, who plays the woman in black, competently gets us nervous by just her gaunt appearance and sudden positioning. A pale look and those minor mannerisms just seem to haunt you. She's a spirit you don't want to cross paths with, yet alone let her see you. An accomplished performance by a marvelously moody Adrian Rawlins as the solicitor Arthur Kidd does hold it all together. In support are solid turns by Bernard Hepton, David Daker, Clare Holman and David Ryall.Drawing heavy on its lushly sombre rural town and foggy coastal locations adds more to the realistically eerie plight and the centre piece were everything unfolds in the forlorn, time-worn Victorian house that comprehensively suffocates the air with constant fear. Director Herbert Wise carefully fabricates alarming imagery that slowly covers one secretive piece at a time in a smoothly paved out rhythm of well-judged contriving. Instead of going out to shock us, some scenes contain a distressing intensity that won't let go. The sound effects are masterfully used, by surrounding and disorienting the air. Rachel Portman's harrowing musical score knows how to get under your skin during those eerie moments and then stay with you.This rarity made-for-television feat is a stimulating rich and unsettling supernatural spook-fest. It might not share much new to the sub-genre, but it competently sticks to it strengths to deliver what counts in this curse.

Output: positive


Input: Consider Input: It is projected that between 2000 and 2020, 68 million people will die prematurely as a result of AIDS. The projected toll is greatest in sub-Saharan Africa where 55 million additional deaths can be expected. Beyond the grim statistics are personal stories that we rarely hear about. Christophe Honoré describes one of the most moving in Close to Leo, a film produced for French television as part of a series dealing with issues facing young people. Though fictional, it deals with a situation that is unfortunately too common -- the effect of a diagnosis of HIV on a loving close-knit family.When twenty one-year old Leo (Pierre Mignard) tells his parents and two teenage brothers, Tristan (Rodolphe Pauley) and Pierrot (Jeremie Lippmann) that he has AIDS, the family is devastated. Out of concern for his youth, they decide to withhold the information from his youngest brother, 12-year old Marcel (Yannis Lespert) but he overhears the conversation and begins to sulk and act erratically. When Leo goes to Paris for treatment, he takes Marcel with him but the young boy confronts Leo and demands to know the truth. Leo tells him that he is ill and Marcel is sad but accepting. When he brings Marcel along to meet some former gay friends, however, tension between them boils to the surface, setting the stage for a riveting conclusion. Although I was uncomfortable with scenes in bed involving physical contact between the brothers, I feel that the sincerity of Close to Leo and the brilliant performances by Lespert and Mignard more than tip the scales in its favor. Seeing events unfold from the young boy's perspective gives the film an authenticity that reminded me of the Quebecois film Leolo and Truffaut's The 400 Blows. Unlike some American films that dance around the anguish of AIDS, Close to Leo tells a harsh truth but does so in a way that is tender and wonderfully real.

Output: positive


Input: Consider Input: Although in my opinion this is one of the lesser musicals of stars Frank Sinatra, Gene Kelly, Kathryn Grayson and director George Sidney, a lesser musical featuring anyone from that line-up is nothing to sneeze at, and in conjunction, the line-up makes Anchors Aweigh a pretty good film despite its flaws.Sinatra and Kelly are Clarence Doolittle and Joseph Brady, respectively, two Navy men. As the film begins, they're just pulling in to the Los Angeles area for some much needed leave. Brady plans on visiting a girlfriend named Lola. Doolittle is still a bit wet behind the ears, appropriately enough, and seeks advice on women from Brady in private (publicly, scriptwriter Isobel Lennart and Sidney have all of the Navy men comically exaggerating their finesse with women to each other). Brady promises to help get Doolittle hooked up, but primarily because Doolittle won't leave him alone otherwise. A kink is put into their plans when local police basically force them to assist with a young boy who is obsessed with the Navy. He won't give the police any information about who he is or where he lives. Brady helps and he and Doolittle end up taking the boy back home. When the boy's guardian, Susan Abbott (Grayson), finally shows up, Doolittle goes gaga for her. Brady tries to convince him to forget about her; Brady just wants to get back to Lola. But they keep getting coaxed back to Abbott's home, and eventually something of a love triangle forms. Things become more complicated when Brady lies about Doolittle knowing a famous musician, Jose Iturbi, who is in residence at a film studio, and claims that Doolittle has set up an audition for Abbott, who is a singer and actress, in front of Iturbi.Because of the story, the music is a strange combination of militaristic music--because of the Navy premise, obviously, Broadway pop--what the stars tend to sing in more informal settings, opera--what Abbott's character excels at, Liberace-like popular classical--what Iturbi did, and Mexican music--because Abbott frequents a Mexican restaurant in a Mexican section of L.A. The combination doesn't work as well as it could. Plenty of the songs are good, and everyone involved is certainly talented as a singer or musician, but the genre hopping tends to lose coherence. Worse, there are a couple showcases for Iturbi, who was apparently a big star at the time, that effectively bring the plot to a halt and that seem more than a bit hokey at this point in time. I just watched another film that happened to have outstanding music, Robert Altman's Kansas City (1996), but that misguidedly stopped the plot to periodically turn into a concert film. Anchors Aweigh takes a similar tactic. Yes, this is a musical, but there's a difference between songs that propel and are integral to the plot and concert showcases that seem like contractual obligation material.There are also some plot problems. It's not very well established why Brady is so against Doolittle's pursuit of Abbott. We can guess that Brady thinks Doolittle shouldn't become involved with someone who has to take care of a kid, and who seems relatively "proper" and traditional, but on the other hand, Brady can tell that Doolittle doesn't have the same womanizing disposition that Brady admits of himself. Abbott seems like a good fit for Doolittle, and furthermore, Lennart works hard to establish that Brady just wants to get Doolittle out of his hair and get on with meeting Lola--it seems that Brady's character should be quickly pawning Doolittle off on any candidate, whether she's a good fit or not. This might seem like a minor detail, but it's actually the hinge for about a third to half of the plot. The story also seems a bit drawn out. Length is a problem. Anchors Aweigh, clocking in at roughly two hours and twenty minutes, should have been cut down by at least a half-hour.The above surely sounds like I'm complaining about the film too much to justify an 8. I just wanted to stress what I see as flaws, because the conventional wisdom on Anchors Aweigh is much closer to the idea that it has no flaws.Sinatra, Kelly and Grayson are certainly charismatic, separately and together. They turn in good, interesting performances. Sinatra looks and acts much younger than his actual age of 29  30 while shooting. He plays an unusually naïve, virginal character--completely different than most of the roles he would take later, and different than his public image as a crooner. For Kelly, this was his breakthrough film, and rightfully so. His choreography is varied and impressive, as is his acting. Grayson is charming, her performance is sophisticatedly understated, and she's simply gorgeous. All of this helps override the flaws with the script and the drawn out pacing.And there's even a very interesting element that probably only arises because Sidney was allowed to sprawl over a large variety of moods--the infamous Kelly dance with Jerry the Mouse (of "Tom and Jerry" fame) in an extended fantasy sequence. This is one of the earliest examples of combining live action and animation, and it is extremely well done and enjoyable as long as you're a fan of fantasy. The fantasy sequences tend to be the best of the film. Matched in excellence to the dance with Jerry the Mouse is a long song and dance number featuring Kelly and Grayson, where Brady is imagining Abbott in a scene from a period film while he woos her, having to resort to acrobatic stunts to reach her physically as she stands on a high balcony.As uneven and flawed as the film is, it is largely successful and entertaining to watch. Fans of classic musicals certainly shouldn't miss Anchors Aweigh, and neither should Sinatra fans, who'll get quite a kick out of his character.


Output: positive