instruction:
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.
question:
Another review likened this troupe to a cross between Monty Python and Twin Peaks, also aptly. Yet another review expounded on the differences between the comedy we enjoy non-critically and black comedy, also well worth consideration.Watch the whole thing, all three series. At the end, all the characters are tied up and the puzzle pieces fall into place just as well as a Douglas Adams novel. The detail and intricacies are staggering. Thoroughly post-modern. Wickedly funny, and startlingly tragic. Not for kids. Not for those with thin skins or who lack objectivity. Thought-provoking. At once literal, figurative, and surreal in disturbing ways. The blackest comedy I can recall.And very possibly the most wonderful thing I will ever see.
answer:
positive


question:
Could this be by the same director as Don't Look Now or Bad Timing? Poorlyacted, clunkily edited. You only have to compare the various accident scenes in this with similar ones in Don't Look Now to see how much Roeg has lost histouch.Even the generally reliable Teresa Russell (looking a bit chunky these days, I'm afraid to report) cannot save this one. The plot is pure pseudo-religious hokum, the acting is wooden and Roeg's attempts at his trademark dislocation of time are pitiful.Avoid this one like the plague.
answer:
negative


question:
In Where The Sidewalk Ends, Otto Preminger reunites Dana Andrews and Gene Tierney, surely in hopes of recapturing the magic of his Laura. But they're wildly dissimilar films, set in different strata of New York (not to mention at opposite poles of the noir universe). A fine mist of the Gothic hovers over the upscale Manhattan of Laura, with its erotic obsession and faint whiff of necrophilia; Where The Sidewalk Ends is pure urban soot and grit befouling a town of basement apartments, steam rooms and parking garages.But it's every bit as fine a movie as its revered forerunner, and dyed-in-the-wool noir (Laura, by contrast, one of the clutch of films from 1944 which the French first dubbed `noir,' was still very much a sophisticated murder mystery). Daylight enters only on very temporary sufferance, and director of photography Joseph LaShelle makes the most of the alleys and brownstones, the docks and the El. This is quintessential big-city - specifically Big Apple - noir, like several others from the bumper crop of 1950, like Side Street and Sleeping City and The Tattooed Stranger and Edge of Doom.As the movie opens, police detective Dana Andrews is on the carpet for his brutal ways, particularly his vendetta towards crime boss Gary Merrill (whom we learn was set up in business by Andrews' ne'er-do-well father). When an out-of-towner is stabbed to death at a floating crap game operated by Merrill, the hair-trigger Andrews roughs up a witness, causing him a fatal crack to the skull (exacerbated by a steel plate installed in the veteran's head). Realizing that his job's already on the line, Andrews dumps the body in the river after making it look like the suspect had taken a powder.Of course, that's far from an end to it. The corpse is discovered, his estranged wife turns out to be Tierney, and all the evidence starts to turn toward her father (Tom Tully), a hack driver who happened not only to have been cruising the same mean streets the night of the murder but to have ample reason to want his abusive son-in-law dead. But the embittered loner Andrews finds in Tierney a summons to his better nature; he tries to exonerate her father while still keeping his own involvement in the whole sordid business a secret....Not so epigrammatic as Laura, the script for Where The Sidewalk Ends (by Ben Hecht) shows a pungency of its own (in a second dressing-down, his superior tells Andrews, `Look at you - all bunged up like a barrelhouse fag').But while Laura spread its attention over half a dozen characters, here Andrews is all but the sole focus (even Tierney's role is far less central than her half-spectral Laura). And Andrews may never have excelled his performance here. It's tight-lipped and taciturn, but never more eloquent than when his face is silently registering the anguish to which his own obstinacy has brought him. He's a pent-up sufferer who can find release only through the safety-valve of violence (he even lashes out against his loyal partner, Bert Freed). To be sure, he finds too swift a road to redemption though the agency of his beautiful co-star. But that was the style of the times, and a sweetened-up ending does little to undermine this New York story of violence, corruption and urban entanglements.
answer:

positive