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

Q: i must admit that i was a tad skeptical of " good will hunting " , based both on the previews and the first fifteen minutes of the film , in which the main character will hunting ( matt damon ) , an mit janitor in his early twenties , is discovered to be an einstein - level closet genius when he solves two extraordinarily difficult math problems overnight .
the only problem is that will is a tough street kid who 's had his share of run - ins with the law , and before long he 's being hauled in for assault after a parking lot fight .
professor lambeau ( stellan skarsgard ) , who had brought up the math problems in his lectures , tracks him down and strikes a deal with the police : will is to be released , provided he works with lambeau on his math research regularly and attends therapy sessions .
this sounds like the formula for mildly charming fluff , but " good will hunting " rises above its fairly mundane premise to deliver a poignant and clever drama .
a conflict gradually emerges between lambeau and will 's therapist sean mcguire ( robin williams ) - lambeau wants to get will to use his brain , while sean wants him to listen to his heart , both of which he has been largely neglecting .
will finds that the former is much easier than the latter , so much so , in fact , that he gets bored with it and grows increasingly resistant to lambeau 's attempts to recruit him into the academic lifestyle .
he also has his share of problems with his girlfriend skylar ( minnie driver ) , an mit student who is moving to california at the end of the school year and would like a reluctant will to come with her .
what makes " good will hunting " work so well , aside from the strong performances ( especially from damon and williams ) , is the depth of characterization and the representation of the conflicts in will 's life .
the script 's sympathies seem to lie more with sean mcguire than with lambeau , but neither of them is presented as completely right or wrong .
lambeau , while he may seem a little cold at times , is still written well enough that we like him as a character even when we 're not sure if we like what he has to say .
and sean , for all his warm - heartedness , has , as lambeau and later will point out , not lived up to his full intellectual potential either ; the therapy sessions turn out to be just as revelatory for sean as they do for will .
will 's reaction to this situation , and the way in which he slowly becomes more receptive to skylar and to sean , is presented in a believable fashion and in a way that forces the audience to consider all the characters ' opinions , rather than setting up an obvious " right " and " wrong " side and beating them over the head with it .
for a film with such an extraordinary character , " good will hunting " presents itself as remarkably ordinary ; it achieves the difficult task of making the next albert einstein into an everyman , a character to whom the audience can easily relate and who must make choices similar to those that almost everyone faces at one time or another .
this film gives us real drama when it so easily could have given us merely melodrama , by having the government kidnap will to use him in covert spy missions or introducing some other equally far - fetched situation .
"
good will hunting
" also has its share of fun humor , such as when will , in an early therapy session , pretends to be hypnotized and smoothly parodies the alien abduction scenarios that have become so well known in popular culture .
and in the one scene in which government agents do in fact appear , will blows them off with a hilariously scathing accusation of human rights violations in africa .
will 's relationship with his friends , most notably chucky ( ben affleck ) , is usually rather amusing , if somewhat crude ( the film has 100 +
uses of the ' f ' word , which was most likely the reason for its r - rating ) , and lends itself well to the development of will 's character .
add all this to the fact that " good will hunting " even manages to pull off an uplifting happy ending without getting excessively sentimental , and you might be wondering why i have n't given this film four stars .
well , for one thing , no matter how well damon and affleck , who wrote the screenplay , and director gus van sant pull it off , the story is still rather contrived and not particularly original .
there are also a few scenes that did feel a bit formulaic , including one that was supposed to be emotional but really just seemed like the obligatory crying scene for any movie involving therapy sessions .
still , " good will hunting " takes its premise a lot farther than i thought it would , and is definitely one of the better personal dramas
i have seen in the last few years , and as of right now it stands as one of the top five on my list of ' 97 films .

A: P
****
Q: the following review encompasses two versions of dune :
dune : the theatrical version ( 1984 ) runtime : 137 minutes capsule review : cut down to just over two hours by nervous studio executives , the theatrical version of dune is a spectacular mess and may be incomprehensible to those unfamiliar with the book .
the film 's visual splendour , mystical beauty and impressive action scenes only partly compensate for gaping holes in the narrative .
dune : the extended version ( 1988 ) runtime :
189 minutes capsule review : a bit of a throw - together assembled by mca tv special projects for cable television .
it was disowned by director david lynch
but it 's considerably closer to his original vision by virtue of its improved characterisation and clearer storyline .
quality dubs of this version from the out - of - print japanese laserdisc release are available from various dealers on the world wide web .
*
*
* the review
*
* * released in 1984 and made on a then mammoth budget of $ 40 million , the film of frank herbert 's cult novel dune was eagerly awaited by sci - fi fans .
director david lynch ( blue velvet , eraserhead , twin peaks ) was working on his biggest production to date , a mammoth undertaking filmed under trying conditions on location in mexico .
the screenplay was lynch 's own , chosen after the script submitted by original author herbert was rejected .
dune is set in a universe ruled by powerful families overseen by a successive line of emperors .
the key to cosmic power is the planet arrakis ( dune ) , a windswept desert planet that 's home to giant sandworms and the precious spice melange .
the spice is the most valuable commodity in the universe .
it extends the life and expands the consciousness of those who consume it .
most importantly , it allows the navigators of the spacing guild ( once human but now hideously mutated ) to " fold space " and navigate their spacecraft across mammoth distances instantaneously , enabling interstellar commerce and trade to flourish .
lynch 's film by necessity excises parts of the book while retaining the story 's two main strands .
one is the long - standing rivalry between two families , houses atreides and house harkonnen , and their battle for lucrative mining rights on arrakis .
the second strand is the emergence of young paul atreides as the reluctant messiah long - awaited by the natives of arrakis , the fremen .
the deeply religious fremen want control over their homeworld , and young paul may be the fulfilment of their prophecy that a man would come from the outer worlds and lead them to freedom .
unfortunately , this epic story unfolds in a confusing and haphazard manner in the theatrical cut of the film , which runs 30 to 60 minutes shorter than what lynch originally intended .
the thinking among universal 's oh - so - wise money men was that films over two hours in duration were not popular with audiences at the time and would not do well at the box office .
with lynch 's initial cut running at closer to three or more hours , the studio demanded that further cuts be made .
what a great idea !
why not trim down an already complex film so as to make it almost incomprehensible ?
the most glaring consequence of this one - eyed stupidity is a hopelessly jumpy narrative , leaving us with badly underdeveloped characters .
thus their personalities are vague , their motivations unclear and , in the case of paul 's father duke leto , their demise rather meaningless .
the end result is a distinct chill : we ca n't warm to most of the cast and we do n't care much for them .
and it hardly helps that the voice - over narration is sparse and that the dune - esque language and terminology sounds like so much gobbledegook to those unfamiliar with the book .
dune is also a very serous film .
the constant " self - talk " by various characters makes it so serious and self - absorbed at times that you may find it hard not to wince with embarrassment .
the overall impression is a world full of people so intense that no one is allowed a joke lest the universe come crashing down around them .
humour - or at least a gentle kind of humour as distinct from the harkonnen 's mad , sadistic kind - is hard to find .
you may balk at the comparison , but as a writer lynch could well have done with some lessons from george lucus ' star wars trilogy .
the theatrical version is still some way from being a complete disaster , however .
it still possesses enough of lynch 's stylistic quirks and enough visual invention to sustain the interest of viewers with a taste for imaginative sci - fi .
special effects whiz
carlo rambaldi 's giant sandworms are an awesome sight .
both the production design ( anthony masters ) and costume design ( bob ringwood ) are striking and original .
and the magnificent score by toto and brian eno is one of the most underrated soundtracks of the last twenty years .
with these elements in place and the benefit of freddie francis ' lush cinematography , the film is at least a feast for the senses .
see it in the widescreen format if you can .
and despite all the cuts , several cast members still make a strong impression , most notably kenneth mcmillan as the supremely nasty baron vladimir harkonnen .
sian phillips also registers strongly as the reverend mother gaius helen mohiam , leader of the bene gesserit religious order who 's secret aim is to manipulate paul 's destiny for its own shadowy ends .
as paul atreides , the young kyle maclachlan starts off somewhat shakily , but as his character grows in strength so does his performance
and he emerges as a credible leader of the fremen crusade .
the conclusion ?
any assessment of this film must take into account that frank herbert 's original novel is a complex piece of work and presents a tough challenge for any filmmaker .
david lynch took a brave stab at it and , partly due to forces beyond his control , ended up with an officially released version that fails in several key respects .
dune certainly confused and frustrated a lot of people on its release .
many chose to stay away altogether , as the film 's disastrous box office showing attests .
the extended version , however , is a rather different beast .
in 1984 lynch stated his intention to release his own special edition " director 's cut " of the film on home video , a clear indication of his dissatisfaction with the version that ended up in the theatres .
but , alas , he failed to do so , choosing to move on to other projects .
in a way , then , it is partly lynch 's own fault that what appeared instead was an unauthorised extended version , put together in 1988 by mca tv special projects for airing on cable networks in the usa .
stung into action , lynch successfully petitioned the director 's guild to take his name off the credits and replace it with " allen smithee " , the standard pseudonym for directors who wish to disown their own work .
he also had the screenwriting credit changed to the anonymous " judas booth " .
certainly , looking at the results of mca 's handiwork there 's at least half a dozen instances that , for sheer technical sloppiness , are good enough reasons for the director to object .
but these gripes must be considered in light of the improvements that the extended cut of dune offers in several crucial areas .
most of the changes involve the restoration or extension of cut scenes and the addition of extra narration , both of which fill many holes in the original version 's storyline .
paul 's relationship with his father and associates is more intimate , with moments of humour and warmth lacking previously .
the political skulduggery involving the emperor , the spacing guild , the bene gesserits and the two warring houses is far better explained .
paul 's initiation into the fremen way of life on arrakis is also fleshed out considerably .
and as further background , a new prologue has been added featuring narration and painted stills to give us a brief history of the dune universe .
as a piece of storytelling , then , mca tv 's version of dune is clearly superior .
as a piece of editing , however , it is at times surprisingly inept .
the use of painted stills in the new prologue works well enough , but their occasional appearance once the action begins is inappropriate .
there 's some sloppy cutting , too , and in a few instances shots even appear out of order .
and the use of repeated footage to fabricate certain scenes ( eg .
ships coming and going , soldiers coming and going ) is at times clearly out - of - context
.
this is the kind of thing to which lynch objected , and
rightly so .
it should also be noted that several questionable scenes and shots from the theatrical version were deleted to satisfy the censorship demands of u . s . television .
but the most notable omission is a gratuitous piece of nonsense from lynch that was n't even in herbert 's book .
the scene features baron harkonnen killing a beautiful young man in front of his slobbering henchmen by pulling out his " heart plug " .
its a surreal and disturbing episode that 's very lynch - esque but adds nothing to what we already know
: the baron is a nasty piece of work .
despite its own peculiar flaws , then , the extended version of dune is a generally superior film .
all up , it contains 35 minutes of restored footage and approximately another 15 minutes of either altered , fabricated or newly created sequences . unless the idiosyncratic lynch has a sudden change of heart , the " alan smithee " version remains the closest we 'll get to what the movie should have been .
on repeated viewings , one suspects it is closer than what lynch would be prepared to admit .
still , as one of this century 's great science - fiction novels , some fans and perhaps the late herbert himself would argue that dune deserved a better fate in its transfer to the screen .
with rumours circulating of a new six hour mini - series planned by production company new amsterdam entertainment in 1998 , it is unlikely that we have heard the last of the dune saga .

A: N
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Q: here 's something to chew on : what 's the favorite food of big , cheesy - looking special effects monsters
like the one lurking in the bowels of a luxury liner in deep rising ?
the obvious answer to this question is cardboard , because that 's the depth of the most fully- developed character in this painfully generic creature feature .
deep rising demonstrates all the originality and vitality of something scripted by a computer .
in fact , considering the rigid adherence to the expected formulas , perhaps it was .
the most astonishing thing about deep rising is the exceptionally high level of gore .
not since starship troopers have this many chunks of flesh ( both human and non - human ) been scattered in all directions .
we learn some bloody trivia , as well , such as how a sea monster spraypaints in red ( it drinks a human being then spits out the liquefied remains ) and what it does with half - digested leftovers .
i suppose deep rising 's gallery of grotesque images represents fun stuff for those who love the macabre , but it does n't do much for me .
on the surface , and that 's about the only level at which this film can be analyzed , deep rising feels like tremors grafted onto titanic ( everyone else is citing the equally valid aliens / titanic connection , since james cameron directed both ) .
in going for the big disaster angle of titanic and the tongue - in - cheek mayhem of tremors , deep rising somehow misses both marks by a wide margin .
the film is not humorous , tense , or exciting .
in fact , it 's downright boring , and , despite being half the length of cameron 's current box - office champ , deep rising feels like the longer movie .
is it really necessary to say anything about the plot ?
probably not , since it 's easy to guess ,
but i 'll go ahead and oblige anyone who wants a synopsis .
the film opens by introducing us to a gang of bad guys on board a mercenary ship .
in addition to the usual cast of psychopaths and lunatics , there 's finnegan ( treat williams ) , the boat 's pilot , who 's supposed to be an indiana jones knockoff ; joey ( kevin
j .
o'connor ) , the inept sidekick who 's supposed to be lovable and funny ( but is really just irritating ) ; and hanover ( wes studi ) , the " mastermind " ( and i use that term lightly ) of the operation .
their goal : attack a cruise ship , clean out the safe , then sink it using some illegally - acquired torpedoes .
the problem is , by the time they reach the argonautica , the titanic - like luxury liner has turned into the marie celeste .
aside from a beautiful jewel thief ( famke janssen ) and a couple of crew members , there 's no one on board .
the reason soon becomes obvious -- the ship has been taken over by a bad special effect that is supposed to resemble an octopus with teeth and more than eight tentacles .
the cast , which is led by treat williams , is primarily comprised of has - beens and probably - never - will - bes ( two exceptions : wes studi , best known as the villain in the last of the mohicans , and djimon hounsou , amistad 's cinque ) .
williams , once a " ca n't miss " prospect in hollywood , has fallen so far out of favor
that the best he can do these days for a lead role is a film like deep rising , and his inability to create a charismatic or interesting figure here may sink whatever is left of his sputtering career .
famke janssen , who will forever be known as xenia onatopp from goldeneye , is the perfect bland match for williams .
given her limited acting abilities , it 's likely that she was chosen for this part primarily on the basis of her physical attributes .
unfortunately , a bra defeats the purpose of having her in a wet tee - shirt for half of the picture .
meanwhile , kevin j .
o'connor , who has entirely too much screen time , exhibits all the appeal of fingernails scratching a blackboard .
these days , audiences are becoming more difficult to impress with computer - generated special effects .
this is a lesson that writer / director stephen sommers ( who previously helmed the live - action jungle book ) needs to learn .
the days of jurassic park , when viewers were astounded by the mere spectacle of seeing something big and imposing on screen , are past .
now , movie - goers are looking for the sophistication of titanic -- visuals that are so well - incorporated that it 's impossible to tell where they end and where " reality " begins .
in deep rising , the monster , like everything , is artificial and unconvincing .
unfortunately , the fundamental problem audiences are faced with here is n't so much the idiotic monotony of this individual picture , but the poor quality of the entire bankrupt genre
( although , to be fair , deep rising is a particularly bad entry ) .
even once this film has sunk out of sight , the knowledgeable viewer knows it wo n't be the last of its kind .
like the slimy , slithering things that inhabit the air vents and pipes of these movies , more are waiting just around the corner in ambush .
and that consideration , unlike anything on screen , is truly horrifying .

A:
N
****