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

Q: "
some houses are born bad , " goes the haunting 's tag line , to which i must add , " some movies , too .
"
nothing short of hiring a new cast , a more literate screenwriter , and a new director could have saved this tragically misguided adaptation of jackson 's meritorious novel .
the haunting is late entry summer dreck too slick to be creepy , and its seemingly endless stream of digital trickery and spooky ooky sound effects do n't frighten so much as numb the audience into submission
- the film is like a rube goldberg contraption rigged to shout " boo .
" fragile nell ( taylor ) , bisexual theo ( zeta - jones ) , and smiley luke ( wilson ) are three insomniacs who gather at the reputedly possessed hill house for an extended study on sleep disorders , hosted by professor marrow ( neeson ) .
marrow 's secretly gathering data on their respective paranoid responses to his recount of hill house 's bleak history .
he 's not prepared for the very real apparitions that terrorize the crew , nell especially , who has some ancestral connection to the manor 's previous inhabitants .
taylor is thoroughly insufferable in her first big - budget lead .
for starters , her consistently dour expression sucks the life out of even the early scenes , when we 're introduced to the mansion and all its fun - house trappings .
her character is supposed to be depressed , having tended to an unloving mother for too many years , but taylor plays nell as supernaturally lame , alternately grouchy , mopey , wiggy and pathetic , and i kept wondering why the other characters did n't just ditch this bitch
.
as for the obscenely photogenic zeta - jones , she breezes through her scenes with a wink and a smile and takes the scenery with her .
unfortunately , she 's saddled with some of the most unlikely dialogue the screenplay has to offer .
theo 's assessment of the house ?
"
i love it !
sort of charles foster kane meets the munsters .
" who on earth would say that in place of " citizen kane meets the munsters " ?
( furthermore , would you gladly spend a single night in a house befitting that description ? )
both actresses fare better than neeson , who looks embarrassed to be a part of this ensemble ( and for good reason ) , and his character is the most bland .
as luke puts it , dr .
marrow pulls the old " academic bait and switch " on his subjects , but he breaks down and confesses to this the second he 's accused .
later , he risks his life by climbing a crumbling stairwell to save nell ( it 's amusing to hear neeson shout " nell " repeatedly , given his starring role in the 1994 jodie foster vehicle of the same name ) .
why was this nice , helpful , and redemptive researcher so absent of ethics at the start ?
the haunting was well designed by eugenio zanetti .
his sets are obsessively detailed , and even before the cgi kicks in , they seem alive , never quite still .
i do have one beef with this aspect of the production :
the real life mansion used in exterior shots , nottinghamshire 's harlaxton manor , is so vast that one has trouble believing that nell and company , no matter how much running away they do from ghosts and goblins , always finish up in locations that were established in act one , as if all the action has been confined to one wing of hill house .
eighty million dollars was spent on the haunting , and despite a powerhouse box office debut ,
i doubt it will recoup its costs ( including marketing ) domestically .
thank jan de bont for that : proving for the third time that speed was a fluke , in that it was actually enjoyable , de bont has served up another ride , sans thrill .
his images , well - lit though they are , have an unmistakable been there - done that quality
; in fact , whole sequences , not to mention the cloaked , airy ghoul who owns the climax , feel lifted from a much smarter and infinitely more enjoyable spectacle from three summers back , peter jackson 's the frighteners .
i do n't mean to suggest de bont is a plagiarist , i mean to suggest that he 's a hack , having found no new ways to give us chills .

A: N
****
Q: after enduring mariah carey 's film debut , glitter , i 'm reminded of a bit from chris rock 's bigger and blacker .
in response to women saying that they can raise a child without a man , rock says , " you can drive a car with your feet , but that do n't mean it should be done .
" to that i say , you can give mariah carey a movie , but that certainly do n't mean it should be done .
sure , there are plenty of pop star film vehicles out there -- from the beatles ' a hard day 's night to the spice girls ' spice world -- but none have been so vapidly pointless or laughable as glitter .
everything about this complete tripe is ludicrous .
start off with the story , which -- as gruesomely predictable as it is -- is the least offensive part of the movie .
the film is inexplicably set in the 80s ,
a period piece that really shows no sign of its period except for a few chicks in leg warmers .
worse yet
, everyone 's speaking late 90s hip - hop slang in what should be 1983 .
meant to be partially autobiographical , carey plays billie frank , a young singer in new york who struggles to overcome a rough childhood and abandonment by her alcoholic mother .
influential club dj julian dice , a .
k . a .
" lucky 7
" ( max beesley playing a bad mix of puff daddy and robert de niro ) , hears her sing on a track , and decides to make her a star .
in predictably rapid succession , billie and dice fall for each other , she starts hitting it big , dice gets jealous and starts acting like an ass , and suddenly billie 's on " the roller coaster of superstardom .
" in the meantime , billie is on an emotional hunt for her missing mom .
i wo n't give away the ending , but -- honestly -- just think of unicorns and rainbows .
. .
you 'll figure it out .
the movie screams to be made with camp , and that could 've been fun .
but the filmmakers thought making the bulk of glitter weepy and dramatic would be better .
what a mistake .
the brief attempts at comic relief -- as in a scene where an effeminate russian - sounding director gets wacky with filming billie 's first music video -- go over like lead balloons .
instead , the audience at my screening tended to laugh loudest during mariah 's most dramatic scenes .
which brings us to the performances , of which there 's nothing good that can be said
.
mariah is primarily seen with a wide - eyed deer - in - the - headlights look frozen on her face .
she actually looks scared during her one love scene .
but you have to wonder if the writing is n't even worse .
so much of the dialogue is so hackneyed and watered down for carey 's virginal target audience that it 's probably impossible for any actor to pull it off with aplomb .
even the characters could n't have been written more absurdly .
they 're all members of a barbie playset : the important film director who swoons , " billie , i 'd love to put you in a movie i 'm making , " and the big - time record executive who takes billie 's demo tape and says , " oh , i 'll make sure the whole team listens to it in the morning .
" everyone in the film is a device , and it 's painful to keep watching just to see another one appear .
to say more would be a waste .
there 's so much wrong with this film .
and , it pains me that mariah carey -- with her ego and sanity in such fragile condition these days , as evidenced by her multiple hospital stays -- will have to suffer through all the negative reviews she 's likely to get .
but , then again , i had to suffer through her movie .

A: N
****
Q: after bloody clashes and independence won , lumumba refused to pander to the belgians , who continued a condescending and paternalistic relationship with the congo .
their officers , particularly general janssens ( rudi delhem ) in the force publique , the congo 's army , caused rebellions , undermining lumumba , who was outraged at the rape and murder of belgian nationals .
with unrest building , moise tshombe ( pascal nzonzi ) and the province of katanga , which contained 70 percent of the country 's resources , proclaimed secession .
lumumba replaced janssens , making mobutu a colonel , and went on a pacification tour with congolese president joseph kasa vubu ( maka kotto ) , but it was too late . ' when you want to drown a dog , you say it has rabies , ' prophesies lumumba of his own fate .
peck and bonitzer do an exemplary job telling a complicated tale with a myriad of players , although they frequently succumb to cliche , particularly regarding lumumba 's private life .
peck 's script illuminates bantu sayings like ' the hand that gives , rules ' when lumumba uses it with the american ambassador .
peck 's direction is less assured , with many scenes unfortunately playing like standard television fare .
he 's served well , though , by his casting of ebouaney in the title role .
ebouaney is dynamic , radiating his character 's fierce passion for his people and his country .
lumumba 's intelligence and ability to strategize , even as he 's cornered by insurmountable odds , are given life by ebouaney .
peck 's subject and lead actor elevate his film above its mediocre production .
" lumumba " is a story that deserves to be told and ebouaney 's performance makes the tragedy personally felt .

A:
P
****