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

Example Input: it may seem weird to begin a film about glam rock with a sequence that includes a spaceship , a green ovular pin , and the birth of oscar wilde , but if one really strains , they can see that perhaps maybe these connections are not half off .
wilde 's philosophy was that everyone should be true to their own human nature , and the result of his following this philosophy was that he was imprisoned , loosing his family and his career .
the glam rock movement in the early 70s in england had a similar take and came to a similar demise .
the main difference was by placing makeup on their face and acting out on their deepest fantasies and inquiries about life ( mostly dealing with androgony and sexuality ) , they became less and less like themselves and more and more like everyone else .
and that 's why the movement seemed to end as soon as it began .
it 's been said that todd haynes ' " velvet goldmine , " the film that chronicles what it was like to be a part of the movement , not only from those who experienced it but by those who created it , steals a lot from " citizen kane , " and that 's true .
in the film , a british journalist in the 80s , arthur stuart ( christian bale ) , is asked to go back and find out what happened to 70s glam rock star brian slade , a fictitious rock star , who faked his own death on stage , bringing the end not only to his career but to the entire glam rock movement .
structure - wise
, this totally steals from " kane , " not only from the set - up ( he interviews three people , and the story is a result of their flashbacks ) , but in other things , like the beginning ( death , then newsreel ) , and smaller details , like the bitter ex - friend in a wheelchair and the bitter ex - wife as a washed - up lounge singer , found in a bar after hours .
this is no " kane , " and it really does n't aspire to be : it does n't attempt to be the deep outlook of something gone like " kane " did , and it does n't really uncover anything poignant about humanity .
instead , it uses the flashbacks as a form of contrast between the magic that was the glam rock era and the boredom that was life after glam rock for those who were participants .
the 80s scenes are dry and deliriously melancholy , equipped with a performance by bale that is perhaps appropriately dull and unengaging .
but the 70s scenes are engaging , though , not to mention addictively campy .
they radiate with gorgeous cinematography
that nicely accentuates all the vibrant colors of the era , and a feel that 's so eerily lighthearted that when combined with the then - footage , they become not only a symbol of decadence , but of times when everything seemed so simple .
instead of creating the world the way it was , haynes paints their own world as if it were a narcotic fairy tale : the glam rock movement was full of so much freedom and liberation that after you 've experienced it , everything else seems so mundane .
there 's no outside world to speak of , secluding these people inside a protective globe that will eventually crack .
haynes focuses his story on the tale of blade and the other fictitious rock hero , curt wild , and their relationship that created , molded , and then brought down the movement , reducing everyone else who contributed to it as merely that - contributors .
blade - played with reserve by the pouty jonathan
rhys meyers - and wild - played with anarchic wildness by ewan mcgregor - are little more than thinly disguised recreations of david bowie and iggy pop , respectively , complete with the creation of a ziggy stardust persona named maxwell demon and the confirmation that the two rock stars may have
very well not only have been one - time partners in music , but also partners in bed .
through discussions with slade 's ex - manager cecil ( michael feast ) , ex - wife mandy ( toni collette , reinventing herself as an american blonde dish who fakes a british accent when with slade ) , and finally ex - partner wild , journalist stuart begins to remember his own experiences in the era , like his discovery of his rebelliousness cum conformity , including the moment when he began questioning his own sexuality ( when he opens up his first slade record , he finds a naked and green slade lying on a crimson blanket ) , and finally running away from home to be part of the london scene , finally resulting in leading a boring job in america .
haynes demonstrates that he 's quite the visual auteur , molding scenes that are like long heald breaths , such as a seemingly long sequence juxtaposing a slade / wild concert of them performing a brian eno cover , " baby 's on fire , " with scenes from a decadent drug party ; and the film 's most wow - inspiring sequence , the first concert scene of wild with his band , the ratttz , where mcgregor lets loose so much anarchic steam that his wild iggy - esuqe movements ( including stripping naked ) and screams that the film captures that perfect moment when one discovers a major talent , and another ( slade ) discovers his idle .
even the brief music videos , spoofs of bowie 's , have a rare visual flair that 's pure camp , and which would cause ken russell to drool .
the best sequence , though , may be the beginning , following the prelude , a sequence which acts as the middle ground for both the actual being of the movement and the post - movement era .
in it , stuart and his mates are going to the infamous slade concert where he fakes his own death , where he kills off his alter ego maxwell demon in what appears to be a real assasination , which brought about the end of the era in one swift fake bullet .
with brian eno 's famous " needle in the camel 's eye " playing in the background , the scene has a detached exhileration - the song does n't seem to be played in quite the same way the other songs are .
it has a distance that 's hard to put a finger on , and it seems to represent that all this is coming to a quick and sad ending , and when one sees slade in the dressing room before the show , docked in a silver frock with wings and blue hair , depressingly staring into the mirror , it comes off as a none - too - obvious prophecy of the finale in the beginning of the film .
this movie 's not so much about plot , but more about the way it is presented , making this one of those films which is classified as being " style over substance , " a statement which prompts many critics to line up for attack .
however , for the most part , the engaging part of this film is not the story but rather the way in which haynes creates this world , by using his sets , costumes , cinematography , and especially the music to play as characters in his film .
the music is especially notable .
the soundtrack , which is wall to wall , consists of old school glam rock tunes by the likes of brian eno , t - rex , and roxy music , as well as covers by slade 's band ( with vocals by thom yorke , and occasionally rhys meyers himself ) , and even newer music by shudder to think that sounds uncannily bowie - like .
the cast is rather impressive , but no one really walks away with the film , and no performances are extremely good .
although eddie izzard , as slade 's manager ( who challenges slade 's first manager to an arm - wrestling match to see who gets control of his career ) and michael feast as the first and tragic manager come off greatly , and collette and mcgregor have their moments , rhys meyers and bale are noticably sub - par , neither putting a lot of effort into their respective roles .
some of it is at fault with the actual construction of the film by haynes .
rhys meyers ' brian slade remains merely a metaphor for the glam rock era , dying when he turned into a retro - garbo , resorting to a life of salinger - ism , and found in the mid-70s to be lying around , sniffing coke off the ass of a party girl .
in fact , no one in this film is really seen as a person , rather than just as a symbol or composite of a type who thrived during the era .
bale 's character is an especially tough sell : bitter and depressed by flashbacks to his young adulthood , he 's not an extremely personal character , and his cliched experiences ( being hounded by the record store guys for buying a record put out by a " poof " ) never help us communicate with him .
nevertheless , rhys meyers and mcgregor have the excuses that their characters are not really characters but rather the results of an era that has left them , and others , bitter , part of which helps the film work , since this is a major piece of eye candy .
at the prime of the movie , they at least look the role of fashionable leaders - slade with his perpetually - changing , androgonys persona , and wild with his topless and unpredictable image , which clash and fuse into an unstable union .
their story - of how slade was so influenced by wild that he adapted it into a similar who - cares attitude crossed with camp - is engaging , without the personal background .
the story of stuart , though , is a tougher sell because he 's the everyman , and when you ca n't totally identify with the everyman , your story 's in slight trouble .
as a cultural rock piece , " velvet goldmine " is rather good , but it is merely good .
it never totally takes off , although it has moments where it absolutely flies
,
but then comes back down .
it 's really nothing more than
a bunch of really great moments , surrounded by material that could really be much better .
the beginning is captivating but slow , the middle is fantastic , and the ending is not only shallow but worse than that
, it drags ( the final half hour not only does it not bring the story to any real conclusion , it could probably stop at any point ) .
and did anyone really figure out what the mystery is that arthur unearths ?
it almost seems like there was no point in the entire investigation other than to unearth the past , which is commendable but
not totally so .
still , it does what the oliver stone pic " the doors " did n't do right , becoming very insightful to what happened , using the visual style to hit most of the right notes of contrast between what made the era so great to those who lived during it and
why after living through such an era that everything else seems half - assed ( i suppose the message is : " live life , but after you 've lived it , what else is the point when you 'll be forced to live with regretful memories ? " ) .
the really superb achievement of this film is that during its flashbacks , it successfully creates for the audience what it must have felt like to be in that era , but with the added perk of knowing the result of all that goes down .
Example Output: P

Example Input: _ soldier _ is hands down one of the worst movies a person could ever have to sit through that does n't have jean claude van damme in it .
i could liken it to
the sci - fi cheese that was the hollywood product - of - choice back in the early 80s , but that would be too much of a compliment .
if there is a movie theater in hell , this film is playing there 24 hours a day .
the story , such that there is , revolves around todd ( kurt russell ) , an automaton of a man who has been raised from birth to be a merciless soldier in a not - too - distant ultra - conservative future ( is there any other kind ? )
after years of desensitization at a military academy full of other boys just like him , todd becomes a ground fighter in a series of wars all over the galaxy . who the enemies in these wars are is never revealed , but the few glimpses of todd in battle show that it does n't matter , because innocent hostages are wiped out as indifferently as the bad guys .
after ten minutes of this nihilistic trash --
yes folks , there 's more
-- we see todd as a buff , scarred adult , now so accustomed to the carnage that no confrontation at all causes him to break a sweat .
there 's a new wrinkle , though .
todd and his brethren are declared obsolete , and a new batch of soldiers takes their place .
after losing a sanctioned battle with _ dragon _ 's jason scott lee , the seemingly dead todd is dumped by a flying ice - cube tray
( well , that 's what is looked like ) on a remote garbage planet .
if you predict that todd meets a bunch of outcast settlers on this planet , and that they band together to fight a bunch of bad guys coming to destroy them , you 're way ahead of the game .
the renegade society on this trash heap is so clich you half - expect tina turner and master blaster to come strolling into frame any minute .
it 's surprising that _ soldier _ is the brain - child of _ blade runner _ co - writer david webb peoples .
unlike that mind - twisting classic , this film contains just barely enough dialogue to fill about three double - spaced pages .
add into the mix the _ mortal kombat _ 's paul anderson inept direction , and
it 's easy to see how _ soldier _ turned out so bad . and the special effects !
remember the flying steam irons in hardware wars ?
gary busey is in this movie .
'nuff said .
_
soldier _ is proof that hollywood still has plenty of bad ideas sitting in its script vaults .
that this sad film made it to the silver screen should encourage plenty of aspiring screenwriters out there that there is hope after all .
now if you 'll excuse me , i have to go weep for the future .
Example Output: N

Example Input: about an hour or so into " the jackal , " a character wandered around as people were being shot at in a big suspense sequence , and one of the audience members in the theatre i saw it in shouted out
" i hope she gets killed now !
"
at that point it hit me :
i did n't care for any of the characters being played by actors i did n't really like .
when the sole reason you care about a character being played by sidney poitier in a suspense film is because he 's being played by sidney poitier , you know
something 's rotten in the state of denmark .
every year , a couple films like this are released .
you know : the cheap , action packed international espionnage film , featuring a semi - promising premise , some big - name actors ( usually bruce willis ) , and the hopes that some audience members will forget the cold war ended several years ago .
this was the third one of ' 97 , following the very lackluster " the saint , " which featured an amoral costume changing bond wannabe ; and the surprisingly fun " the peacemaker , " featuring clooney and kidman trying to stop an almost untraceable villain .
"
the jackal " tries to mix both elements .
and you thought " the saint " was bad .
"
the jackal " is loosely ( very loosely , i hope ) based on the 1973 fred zimmerman classic that i 've yet to see , " the day of the jackal , " which featured ( apparently ) a suave hitman called the jackal , played by edward fox , trying to assasinate charles degaule .
well , welcome to the 90s , where a sorta suave hitman , also called the jackal ( bruce willis ) , trying to kill the head of the fbi .
. .
or is he ?
after being hired by a russian mob lord as a bit of vengeance for the murder of his brother ( killed in the opening scenes ) , the jackal romps all over the northen hemisphere , from helsinki to virginia , setting up an elaborate scheme wherein he 'll be able to assasinate this person and still get away to live in seclusion .
and like the saint , the jackal changes his look over and over and over again to elude people .
the agent working on the case , cater preston ( sidney poitier -
yes , that sidney poitier ) , working with a russian agent , valentina koslova ( diane venora - lady capulet from " romeo + juliet " ) , gives up early on and meets with an ex - ira man , declan mulqueen ( richard gere , putting up some tight competition between himself and brad pitt for worst fake irish accent of ' 97 ) who 's in a massachusetts jail , but who has apparently seen the jackal , who has been eluding the law forever .
soon , he 's out working with the two untrusting agents , and trying to help them catch him .
there are numerous problems with the film , and which one is the biggest one is pretty impossible to put a finger on .
the film is supposed to be a big suspense thriller , but save a couple moments , the film never achieves suspense , or even a sense of intrigue
.
sure , the big assasination attempt is a bit cool looking and even slightly tense , but every other scene in the film is too short and too dull to register .
the film never picks up enough to become a thrilling experience , or even an entertaining one .
it does n't help that the plot is designed to be complex , but falls into so many problems , like plot holes and unbelievable circumstances .
the script of " the jackal " is a complete mess , mostly because it ca n't decide what it wants to focus on
.
is this a film about a man trying to find redemption by catching a nasty killer ?
is it a film about a nasty , amoral hitman who 's in everything for the money ?
or is it a combination of both ?
" the jackal " aims for the latter , but never focuses in on either character .
the connection between the two feels completely edited , so much that in a scene when the jackal turns around and notices declan , you wonder how he recognized him so fast .
the worst part is the little past they try to give declan , most notably his relationship with an old girlfriend , isabella ( mathilda may ) , given so little screen time that you almost forget her character exists until she pops up every now and then .
the supporting characters are worse .
sidney poitier is given a completely unplayable role , that of a man who is just stern sometimes , and other times more giving and likable .
what is poitier doing here ?
he 's one of the best living actors !
does he really need to waste his time doing drivel like this ?
diane venora 's russian character is almost as bad , with a cigarette perpetually in her mouth , and a plastered on expressionless facade .
it 's not that anyone 's bad here ; it 's that they have nothing to do .
the plot is a joke , feeling like it was pasted together by someone in post - production who dropped each scene on the floor and pasted them together quickly so it could be released on time .
the jackal himself is not even much of an international villain .
there are several times where he 's in a tight situation and makes things worse for himself , the only explanation being that the filmmakers wanted to toss in a cheap thrill .
take a scene where he 's being followed by some agents into a parking garage : he quickly sprays his car another color , and adds a solvent that if touched kills the person who touched it .
does n't killing someone attract more attention than it does distract ?
and does he think dying his hair bottle blond makes him fit in in a public place ?
geez !
is there anything good here ?
well .
. .
a couple things .
i did like willis 's icy expressions ; he may not have been real suave or anything , but some of his looks are worth a chuckle .
richard gere has a couple of good moments , making his character as likable as he possibly could have .
and a couple sequences are kicky in that kind of proposterous , completely inane but fun kinda way , most notably : a sequence where he tests out a new gun on an annoying gun builder ( jack black ) ; and a bit where he seduces a gay washington man , which has its share of a couple good jokes , most particular a kiss by willis .
but none of these elevate the film any higher than it could go ; they 're just little distractions along the way to amuse us mildly then toss us back into the world of dullness and stupidity
that is " the jackal .
"
director michael caton - jones ( who directed the far superior " rob roy " ) has made a film that is made very couple months , one that is unentertaining , unintriguing , and pretty much cold , but will nevertheless make money because , hey , the trailers do make it look like it may be fun in that kind of retro - clancy kinda way .
every now and then , the filmmakers get it right ( " clear and present danger , " which was enormous fun in that smart kinda way ) , but " the jackal " is an example of when they go completely wrong .
Example Output:
N