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

"
i 've been told by several people , ' you 're old fashioned .
you want to do everything by hand , ' " topiary gardener george mendonca complains , defending his continued resort to hand shears in trimming his intricately privet - sculpted animal creations .
"
this is the only way you can do it and do it right . " snip , snip .
"
some people believe that we are gon na replace ourselves by building these machines , and that may be , " muses mit robot scientist rodney brooks , who builds robots that run on instinct .
"
there may not be a place for humans in the future , if we 're really successful . "
" you feel that there 's a and looking directly into errol morris 's camera .
"
i know you are .
you know i am .
" in some ways the slickest film yet from nonfiction auteur morris ( the thin blue line , a brief history of time ) , fast , cheap & out of control is reportage of the highest order .
journalism students should dream of making connections like these .
cross - cutting among interviews and filmed segments , morris traces the lives of four disparate professionals who seem to share nothing but an immersion in their work , and then threads them around one another in an intricate quadruple helix .
the fun is settling into your theater seat and wondering just what the hell one story can possibly have to do with the other .
what morris manages is something akin to an intellectual magic trick , an interrogative sleight of hand .
one of the things that feels different about an errol morris documentary -- besides the always - striking visuals -- is the interview style , where subjects seem to look directly at the viewer .
weary of pressing his cheek against the camera lens to get this effect during conversations , morris developed an elaborate double - camera gadget he calls , half - jokingly , the interrotron . through a rig that uses a pair of teleprompters to project video images of the interviewer for the subject and vice versa , these folks talk , startlingly , right to the camera -- to the video image of morris , and by extension to the audience .
the gardener wonders whether , after his death , anyone will be interested in maintaining the garden that he 's devoted half his life to tending .
the robot scientist is more than a little pleased to note that his creations may be primal examples of what an insect or even an animal is -- a complicated set of sensory receptors .
the mole rat specialist is delighted to catalog the ways in which these vermin animals behave like insects , and notes that they may be more suited to long - term survival than people .
and the circus trainer pines for a long - lost ideal that was exemplified by world - renowned trainer and showman clyde beatty , who starred in such serials as zombies of the stratosphere ( excerpted at some length here , with affection ) .
starting to detect the patterns ?
fast , cheap & out of control contains a multitude of parallels and tiny intersections , culminating in what feels like an elegy ( the film is dedicated to morris 's late mother and stepfather ) .
the film is balanced on that airy precipice dividing the already musty past from the alternately exhilarating and terrifying space that is the future .
( the title is taken from brooks ' wish that nasa would send a payload of hundreds of expendable robots to scurry about the martian surface , creating a sort of road map for the terrain -- fast , cheap , and out of control . ) with able assists from editors karen schmeer and shondra merrill and cinematographer robert richardson ( oliver stone 's longtime collaborator ) , this becomes a cinematic contraption that 's a wonder of narrative divergence and coherence .
( further enhancing the picture 's wacky intellectual mood is the playful score by alloy orchestra founder caleb sampson . )
different story threads inform and comment on one another with the serene inscrutability of a kieslowski film , or a surrealist dream .
by cobbling together out of these motley musings a thesis on the nature of craftsmanship , invention , and existence itself , morris reveals the presence of cosmic themes -- creation , evolution , death -- in earthbound lives .
at the same time , and just as significantly , he pays tribute to a consuming passion for one 's work .
this breakdown of the dichotomy between the everyday and the extraordinary is likely as profound as anything you 'll encounter in pop culture this year , and the visuals cry out for the big screen .
do n't miss it .
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directed by errol morris edited by karen schmeer and shondra merrill cinematography by robert richardson music by caleb sampson u
. s . , 1997 --------------------------------------------------------------
P

after the simple looking little spacecraft lands in a automobile wrecking yard , out steps a steel - gray , human - like creature with aquamarine eyes and clad in a muscular suit .
spencer , the boy who observes this , having seen his fill of science fiction flicks , figures this thing must be a robot from outer space .
with the exception of disney and a few others , most studios view children 's films as a way to ship a cheap and unimaginative product and thereby make a quick profit .
star kid stands out as that rare kids ' film that is undoubtedly low - budget but is also highly imaginative .
remember , the robot ?
it was n't one at all but rather a " phase one assault cyborsuit .
"
the cyborsuit is actually a prototype combat enhancer developed by the trelkins and jettisoned for latter retrieval when they are under attack from the invading broodwarriors .
the significant twist in the story is that spencer gets to go inside the cyborsuit , and the cyborsuit , nicknamed cy , has plenty of spunk .
cy keeps questioning the kid about everything including words like " cool .
" upon hearing that " command , " cy starts rapidly decreasing the temperature in the cyborsuit until spencer screams for him to stop .
and when cy speaks , we see spencer 's view , the backside of cy 's lips and eyes .
as 12-year - old spencer , joseph mazzello from the jurassic park film series gives a remarkably good performance as a wimpy and initially tongue - tied kid .
even when enclosed in his powerful new cyborsuit , he has his fears but he learns to overcome them .
"
if you run away , things do n't get better , whether it 's bullies , spiders , or girls , " his science teacher advises him after he has difficulties dealing with all three .
turbo ( joey simmrin ) , the school 's chubby bully , beats up on him , spiders frighten him , and , most embarrassing of all , he ca n't speak when in the presence of his would - be girlfriend .
with his cyborsuit on , he learns some bravery that transcends his time inside cy .
spencer lives with his dad and his older teenage sister stacey , played by a smart - mouthed ashlee levitch , who looks like a younger sarah jessica parker .
stacey derides her brother , whom she barely tolerates , by referring to him only as " the fungus .
"
this whole setup for spencer 's downtrodden and delightfully funny life makes his acquisition of some superhuman powers a source of mirth and empowerment .
the beauty of mazzello 's performance is that you can vicariously experience his fear and share in his enjoyment when he goes after the bully to teach him a lesson he 'll not soon forget .
the ensuing mayhem has some of the home alone antics , but the slapstick is kept tightly under control by writer and director manny coto so that one never feels embarrassed to be laughing .
the romantic angle is handled ever so delicately . when cy wishes to know if spencer wants to mate with the object of his desire , michelle ( lauren eckstrom ) , his eyes open wide in revulsion .
" mate with her ! " spencer exclaims .
" pllllleeeeease , i just like her
that 's all .
"
the show has many funny twists .
in one , cy sees a man in a barney - like costume and begins firing at him , thinking he is an alien life - form .
soon things get way out of hand , and cy and spencer have to beat a hasty retreat .
as proof positive of the show 's class , it actually contains tasteful bathroom humor
-- thought that was an oxymoron in a kids ' picture , did n't you ?
cy can not allow spencer to leave the cyborsuit , and what happens when he needs to urinate becomes both sweet and hilarious .
the director 's staging of this sequence is one of the film 's more charming moments .
oh , and eating is pretty funny too .
spencer , whose idol is the comic book character " midknight warrior , " gets to face the challenge of a lifetime when a broodwarrior comes to capture the cyborsuit .
spencer 's valiant battle gives him a chance to find his mettle .
and the action sequences in the battle
manage to be quite respectable for a kids ' show full of inventiveness and lacking the usual repetition .
for a family movie mixing humor , fantasy , and action , star kid delivers .
although it 's probably not the sort of movie you 'd want to see without kids , with them
you 'll have a magical time with a relatively straightforward but well developed story
.
you 'll be rooting for and laughing with spencer and his buddy cy all the way through .
star kid runs 1 : 41 .
it is rated pg for fantasy combat .
although the basically cartoonish broodwarrior might scare the littlest kids , i saw none of this in evidence in our packed screening , so i would say the show is fine for kids five and up , and possibly the younger ones .
my son jeffrey , age 8 , got really excited about the picture .
he called it " an especially good movie " and gave it
*
* * * .
when i asked him to tell me his favorite characters , he mentioned almost everyone in it from the boy to the cyborsuit to the bully .
P

waiting at the train station near the beginning of fury , joe says : ` after all , we 're human . '
in the context of events to transpire , joe 's line is prophetic , foreshadowing the internal conflict of the protagonist in the latter half of the film .
does being human necessarily imply humane behavior ?
through the baseness of human character exemplified in the formation of a mob , fritz lang prompts the viewer to consider whether our inclination towards impulsiveness supersedes our civility . expressing his abhorrence towards the rise of nazism in his homeland , lang takes great care in creating a sense of discomfort during the scenes of mob hysteria .
in the scene prefacing the lynching , the mob achieves critical mass at the bar .
deputy meyers is brought in as an exalted informant , but when he is unable to augment the mob 's myth of joe , he is quickly renounced from his position as town gossip .
we see in a shot where two bar patrons are arguing that the deputy looks around nervously at the growing monster and then carefully slips out of the bar .
what is quietly horrifying is the realization by both the audience and the deputy that the crowd no longer exists within the confines of reason and has succumbed to what the barber referred to as impulse .
what once was excitement to the deputy has turned into fear with the realization that he is now powerless .
to the audience , the deputy 's quiet exit concurs with their own sinking feeling of uneasiness as the mob 's delirium crescendos .
lang educes this discomfort not through movement of the camera , but rather its stillness .
the shot 's composition places the audience equidistant and directly across from the pair of arguing patrons and the deputy effectively becomes a mirror to our own apprehensions .
as the intensity of the mob closes around deputy meyers , it does so around the viewer as well .
the stationary camera in this shot heightens our fears because when the deputy escapes , we are deserted by our reflection and the viewer becomes the sole proprietor of sensibility amongst a swarm of irrationality .
because the camera does not track the deputy 's movement , we are left with an amplified perception of desertion and vulnerability .
as the bar scene progresses , the camera pans 180 degrees to reveal the fury of the mob .
this shot is unique because it is a point - of - view shot where the audience , not a character in the film is the subject .
while a long , or dolly shot may objectively reveal the size of the mob , panning from the mob 's belly distorts the audience 's spatial reference and exaggerates the claustrophobia of the scene ; we feel we are at the epicenter of something infinitely large .
we see close shots of people 's faces , contorted by their rage .
with the pivot of the pan being in the center of the mob and angry members within a short radius of the pan , lang offers the viewer a sense of what it feels like to be the subject of a lynching .
in this shot the audience is at the mercy of the mob ; lang 's camera makes us feel vulnerable and powerless as joe must have felt in the jail .
in some greater sense , it must have been what lang felt when he saw his countrymen overcome with unjustifiable hatred towards their own humankind .
lang 's observations of his fellow man succumbing to mob behavior left him with an indelible image of malevolent human behavior .
as joe faces his peril , trapped in his burning cell , his dog rainbow rushes to be by his side .
lang makes rainbow a martyr to contrast his humanity against the recklessness of his human counterparts .
using his camera to create shots that elicit disturbing images of mob mentality , lang depicts man 's volatility and ` impulse ' towards inconceivable cruelty .
reprising joe ' s line at the train station
, we are induced to question why our primeval impulses so easily transcend our humanity .

P