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

Ex Input:
" mandingo " has traditionally been seen as one of two things : either a much - needed revisionist look at slavery in the south , or in the words of film critic leonard maltin , " a trashy potboiler " that " appeals only to the s&m crowd .
"
actually , i think " mandingo " is a strange combination of the two , although
it fails on both fronts .
it 's too trashy to be good drama , but too dramatic to be good trash .
the story takes place on a dilapidated louisiana plantation run by crotchety old warren maxwell ( james mason ) and his son , hammond ( perry king ) .
one day in new orleans , hammond comes across a slave trader selling a mandingo named mede ( heavyweight boxer ken norton ) .
although the movie never explains it , a mandingo is simply the name for africans who come from the region of the upper niger river valley .
according to the movie , mandingos were the rolls royce of african slaves .
hammond pays top price for mede and has to fight off others in order to get him .
hammond then spends his time training mede to be a fighter in money brawls with other slaves .
meanwhile , hammond has married his cousin , blanche ( susan george ) , because she wants to escape her family and he is under pressure from his father to produce a grandchild .
hammond , however , is happier spending nights with his " bed wench , " the derogatory name given to female slaves used by their masters for easy sex .
it is quickly apparent that hammond , despite his overt racism , is more in love with his bed wench , a sensitive slave girl named ellen ( brenda sykes ) , than he is with blanche .
hammond considers blanche tainted goods because he finds out on their wedding night that another man had " pleasured " her before he did .
of course , it 's fine that he 's slept with numerous slave girls , but the fact that his wife , a " white lady , " had been with another man out of wedlock destroys his capacity to care for her .
so blanche is usually left lonely and sex - starved while hammond is sleeping with ellen .
blanche gets back at hammond by seducing the studly mede and bearing his child .
hammond and his father can not stand the idea that blanche has given birth to a half - black child ( although it 's okay that ellen was pregnant by hammond ) , so warren kills the child by letting it bleed to death after birth , and hammond poisons blanche .
hammond then finds mede , shoots him twice in the shoulder , and pushes him into a giant cauldron of boiling water .
yes , you read right : the film ends with hammond getting his revenge by boiling mede alive .
judging only by the plot , " mandingo " is pure sexploitation .
the main purpose of the film seems to be getting as many blacks and whites into bed together as possible , with only the slightest commentary on what that would mean in 19th century southern society .
when " mandingo " was released in 1975 , it was still a bit of a shocker to see miscegenation on screen in such a graphic detail ; this way the movie could revise cinematic history while attracting large audiences of curious voyeurs .
dramatically , " mandingo " is weak and unfocused , and historically it 's mostly confused .
if one were to judge history by this film , it would be easy to walk away with the notion that the entire system of american slavery was based on sexuality , not economics .
not once in the film do we see any of the slaves working , except for a few house servants .
the men spend most of the time sitting around , while the sole purpose of a female slave seems to be free sex for the owner .
there is historical basis in the notion that slave owners often slept with their female slaves , but " mandingo 's " overwhelming emphasis on this aspect of slavery gives the movie the unpleasant taste of a cheap sex flick ( although there 's plenty of violence -- fights , vicious beatings , shootings , and the aforementioned human boiling sequence -- thrown in for good measure ) .
some tried to write off " mandingo " as a blaxploitation film , one of a number of quickly - made , low - budget films appealing to black sensibilities in the early seventies , but it 's not that easy .
" mandingo " was studio - financed by paramount pictures , and produced by dino de laurentiis , the grandiose italian producer behind such notorious productions as " the bible " ( 1966 ) , the remake of " king kong " ( 1976 ) , and the ill - fated " dune " ( 1984 ) .
the director was richard fleischer , a veteran who was best known for several special effects - laden action movies including " 20 , 000 leagues under the sea " ( 1954 ) and " fantastic voyage " ( 1966 ) , as well as such superior suspense films as " the narrow margin " ( 1952 ) .
the script , based on the supermarket best - seller by ken ostott ( and the subsequent play by jack kirkland ) , was penned by norman wexler , who had been nominated for an oscar two years earlier for his work on " serpico .
" james mason , perry king , and susan george were well - known and respected actors ( mason already had three oscar nominations under his belt ) , and ken norton appeared to have a promising film career .
so why is " mandingo " so bad ?
a number of reasons , including the fact that all those experienced filmmakers behind and in front of the camera did a lousy job .
wexler 's script is pure poor hokum bordering on the offensive
; it combines stereotyped slave - talk ( " yessuh , massuh " ) , stereotyped southern white trash talk ( " fer whut're you gittin ' outta bed ? " ) , and stereotyped contemporary militant black talk ( " if you see me hang , you gon na know you killed a black brother ! " ) .
fleischer 's direction is clumsy , especially during the fight scenes , and all the actors give weak performances , especially susan george whose constant shrieking finally becomes laughable .
nevertheless , credit should be given where credit is due .
despite its exploitative nature , " mandingo " was one of the first hollywood movies to take an alternative look at slavery .
until then , there had been a kind of underlying racism in all hollywood films dealing with slavery .
even classics such as " gone with the wind " ( 1939 ) can be seen as inherently racist by its glossing over the subject matter .
" mandingo " reassessed the south , and showed that it was n't all beautiful plantations , green fields , and pretty sunsets .
but all this is constantly undermined by the film 's negligible point - of - view
-- it claims to see things from the black perspective , but the entire narrative focus is on the soap opera tales of the white owners .
with a little more maturity and different handling , " mandingo " might have been an effective , worthwhile film .
while it portrays many sensitive aspects of slavery , it never deals with them .
the issues the movie brings up are worthwhile , but wexler 's script refuses to move them beyond a surface level of trashily vicarious viewing .
there is a great deal of potential in honestly exploring the nature of a sexual relationship between slave and owner , but " mandingo " never does it .
steven spielberg touched on that same topic in " schindler 's list " ( 1993 ) , by looking at a nazi officer writhing in inner turmoil because of his feelings for a jewish maid .
the difference between that film and " mandingo " is that spielberg dealt with the situation in a fair , unexploitive manner that focused on the inherent human dilemma .
" mandingo " is satisfied to simply show some skin , and because of that , its " trashy potboiler " nature overshadows any potential social good it might have accomplished .

Ex Output:
N


Ex Input:
" take a number , fill out a form , and wait your turn .
"
starring kati outinen , kari v ? ?
n ?
nen , sakari kuosmanen , elina salo ; written & directed by aki kaurism ?
ki
; cinematography by timo salminen it might be possible to call drifting clouds a satire or a black comedy , but that would imply a sense of anger , of vitriol , of energy ; drifting clouds is what you get when the rage and vitality are gone .
it is the sad , slow story of lauri and ilona , a married couple caught between the wheels of capitalism as it grinds inexorably onward .
he loses his job as a tram driver , because everyone drives cars nowadays .
within a couple of months , she loses her position as a head waiter , when her restaurant is bought out by a chain and the entire staff replaced .
a conversation early in the film reveals a lot about their situation .
lauri has surprised ilona by buying her a tv , which she greets with little enthusiasm .
she notes that they have n't finished paying for the bookshelves or the couch yet .
he says that in four years the payments will be done and then they can buy some books for the shelves .
it would pass as deadpan humour if it was n't spoken with such resigned weariness .
this sets the tone for the rest of the movie .
there is humour and idiosyncracy at the periphery , but at the centre there is frustration and futility , and sorrow for the ways in which the logic of profit reduces people , until their worth is equated solely with their earning capacity .
there is an element of political commentary in this critique of the mechanisms of capitalism and the stultifying social environment it creates , but in drifting clouds the political is subsumed by the personal : the movie is about two people and what happens to them , and nothing else matters .
lauri and ilona live lives starved for friendship , respect , culture , passion .
they go to the movies , and walk out past old posters for l'atalante and l'argent , but the movie they have just seen is a pointless , violent , unfunny comedy .
their house and workplaces are uniformly unpleasant , painted and upholstered in lifeless colours ( ugly greens , dull reds , insipid blues ) , full of inelegantly functional objects and appliances .
the art design is impeccable in its tawdriness , and director aki kaurism ?
ki often matches the colour of characters ' clothes with the background colour and/or lighting , so that it seems as if they are almost physically fading into the environment .
there is no suggestion of sexuality in the relationship ; ilona and lauri sleep in separate beds and their gestures of affection lack the heat of desire ; their lives are now bound by something more complex and desperate than love .
their downward , downsized , downtrodden lives have a momentum that is almost comic , as one setback succeeds another , bottoming out when lauri stakes all their remaining money on the spin of a roulette wheel .
it must have been tempting to play the story for more laughs , more farce , more deadpan wit , but the film 's great strength
is the sober , empathic manner in which it observes lauri and ilona 's misfortunes .
irony would be an injustice .
situations and settings are broad and exaggerated -- this is not realism -- but they are not distorted .
the emotions are authentic .
if it is difficult to laugh at anything that happens , despite the droll performances , the laconic humour , that 's because kaurism ?
ki brings such compassion and understanding to the manifold indignities that are suffered .
he shows us how humiliating it must be for a woman of thirty - eight , who has worked long and hard to win a respectable position , to be forced to accept a job as a dishwasher in a two - bit restaurant ; how humiliating it must be for a man nearing 50 to confront his wife 's former employer , demanding the rest of her wages , only to have the crap beaten out of him , unable to land a single punch , when the employer and his cronies refuse to give him the money .
all this is observed keenly , with great economy : every cut , every line of dialogue , is judicious .
if most films are novelistic in their telling , this one brings the focus and concentration of a short story to bear .
but what is gained in nuance and acumen is rather undermined by the sense that the material barely accommodates the 96-minute running length .
i have seen many movies far less profound , less humane , less necessary than drifting clouds , but they filled me with an urge to watch them again , and this one did not .
it does not need to be seen twice : its every detail and implication can be absorbed in one viewing .
it is not a movie that will be seen by a large audience , because it can not be pitched to one .
there is no selling point .
it is all understatement , restraint , melancholy .
the characters are unremarkable , their best years behind them , their dreams dissipated ; it takes all the effort they can muster just to pay the bills .
this does not make them less fascinating , merely less marketable , which is a shame , because this is a movie which should be seen , precisely because it pays attention to people and emotions that most movies prefer to ignore .
it engages us and touches us and resolves -- surprisingly , and movingly -- into something resembling a happy ending .
the only thing greater than the ill - luck that governs the characters ' lives is their refusal to give in to despair .
their persistence is rewarded with what might be called a " feel - good " ending elsewhere , but not here , because this ending differs in kind from most such endings : this one has truly been earned .

Ex Output:
P


Ex Input:
synopsis : wealthy cuban landowner luis ( banderas ) gets more than he bargained for when he sends away for an american bride .
not only does his new wife turn out to be the beautiful julia ( jolie ) , she also harbours a secret past of dubious merit .
soon , julia has absconded with both luis ' fortune and his heart , and as he pursues his wife through the cuban underworld , luis begins to realise that , for him , there is no turning back .
review :
given the absurdism of its would - be plot , it 's unlikely that " original sin " could have been turned into a reputable piece of filmmaking , regardless of writer , director or stars .
this is , at its heart , b - movie junk : a lurid melodrama which appeals to neither the brain nor the heart but to the nether regions .
that said , " original sin " could at least have become enjoyable junk had the filmmakers embraced its trashiness and indulged in it .
instead , cristofer seems to have mistaken this for a serious production , and directs it as such .
the result is a vapid , uninteresting morass of obvious crosses and double crosses , as likely to incite a yawn as a thrill .
consider the initial sex scene between banderas and jolie : brightly - lit and mostly filmed from above ,
it looks like an excerpt from an amateur soft porn show .
cristofer does n't even manage to capture the allure of cuba ; instead of portraying his setting as a steamy , sensuous island paradise , it appears bland and lifeless . at least banderas and jolie manage to inspire some interest ; there are hints at times that they want to have more fun with the script , but are n't being given the chance .
the same can not be said of jane , whose billy is nebbish and transparent .
also unwise is the jolie framing sequence , which practically gives away the film 's denouement .

Ex Output:

N