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.

[EX Q]: Elephant Walk (1954) Starring an early Peter Finch as lord of the manor in some God-forsaken plantation where there is always the danger of elephants or mad Englishmen, staying out in the midday sun and going berserk. Well eventually they do, after the typhoid or cholera outbreak, of course, and much mayhem ensues. Taylor replaced an ailing Vivien Leigh in this pot boiler/adventure flick. When the elephants storm the house and trap Liz on the grand staircase I still get goose bumps. Thank goodness Dana Andrews is around to save the day. One of my favorite guilty pleasures. In color too!
[EX A]: positive

[EX Q]: It's difficult to know where this adaptation starts going wrong, because I think the problem begins with the books themselves. Alexander McCall Smith has worked out that you read them not for the detective stories, but for his deeply condescending and completely spurious vision of an Africa that does not exist. He's done for Botswana what Borat did for Kazakhstan - not as successfully, but based in as much fact.Once I realised this, it ceased to gall me that Jill Scott, an American singer/actress, is cast as Mma Ramotswe. If she is to represent a land that is not Africa, how appropriate that she is a black woman who is not African? She's not the only American on the cast; Mma Makutsi is played by Anika Noni Rose. Both women are far, far too young for the roles they're playing, and far too glamorous. Both brutally murder the local accents, and both focus so entirely on this brutality that they fail to offer much in the way of acting. Scott's Mma Ramotswe is bouncy, cute and soft. Rose's Mma Makutsi is an annoying motor-mouthed bitch.The result is almost unwatchable. The principal cast is redeemed only by the presence of Lucian Msamati, who turns in a decent performance as Mr JLB Matekoni. Hes comes off smarter and more intense than in the books, but I find myself unable to blame Msamati for this - he's a shining light in an ocean of suckage. The contradictions between his performance and the books are clearly laid at the feet of whichever committee of butchers wrote the script.To me, McCall Smith's writing has always been highly entertaining yet notoriously bad. He refuses to be edited. As a result, his books contain experiments in grammar that border on the scientific, and characters that change name mid-sentence. It is therefore something of an achievement that the writing team on this project actually made it worse.The dialogue is now largely Anglicised. Characters speak of "opening up" and "sensitivity to needs". Mma Ramotswe and Mr JLB Matekoni flirt openly. Mma Makutsi moans about not having a computer, but given her constantly restyled hair, makeup and jewellery, I'm surprised she doesn't have a MacBook in her handbag along with her Visa card.So what are we left with here? It's difficult to be upset with this crappy adaptation because honestly, most of the things I like about the original books are apocryphal anyway. McCall Smith paints a fictional Botswana populated with cute, non-threatening black people who are full of amusing and palatable wisdom-nuggets. It reads well despite linguistic travesty, but it is a vision of how a certain type of white person wishes black people were. It just isn't true.Given that, it's hardly surprising that this show sucks as much as it does. It remains to be seen whether European and American audiences will even notice, however.
[EX A]: negative

[EX Q]: Emilio Miraglia's first Giallo feature, The Night Evelyn Came Out of the Grave, was a great combination of Giallo and Gothic horror - and this second film is even better! We've got more of the Giallo side of the equation this time around, although Miraglia doesn't lose the Gothic horror stylings that made the earlier film such a delight. Miraglia puts more emphasis on the finer details of the plot this time around, and as a result it's the typical Giallo labyrinth, with characters all over the place and red herrings being thrown in every few minutes. This is a definite bonus for the film, however, as while it can get a little too confusing at times; there's always enough to hold the audience's interest and Miraglia's storytelling has improved since his earlier movie. The plot opens with a scene that sees two young girls fighting, before their grandfather explains to them the legend behind a rather lurid painting in their castle. The legend revolves around a woman called 'The Red Queen' who, legend has it, returns from the grave every hundred years and kills seven people. A few years later, murders begin to occur...Even though he only made two Giallo's, Miraglia does have his own set of tributes. It's obvious that the colour red is important to him, as it features heavily in both films; and he appears to have something against women called 'Evelyn'. He likes castles, Gothic atmospheres and stylish murders too - which is fine by me! Miraglia may be no Argento when it comes to spilling blood, but he certainly knows how to drop an over the top murder into his film; and here we have delights involving a Volkswagen Beetle, and a death on an iron fence that is one of my all time favourite Giallo death scenes. The female side of the cast is excellent with the stunning Barbara Bouchet and Marina Malfatti heading up an eye-pleasing cast of ladies that aren't afraid to take their clothes off! The score courtesy of Bruno Nicolai is catchy, and even though it doesn't feature much of the psychedelic rock heard in The Night Evelyn Came Out of the Grave; it fits the film well. The ending is something of a turn-off, as although Miraglia revs up the Gothic atmosphere, it comes across as being more than a little bit rushed and the identity of the murderer is too obvious. But even so, this is a delightfully entertaining Giallo and one that I highly recommend to fans of the genre!
[EX A]:
positive