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

[EX Q]: " psycho meets the exorcist with no holds barred " .
a blurb like that sounds like desperate publicity for some low budget , third rate rip - off .
but no , this tacky plug comes from the poster for suspiria , perhaps italian horror director dario argento 's most consistently successful film .
what impresses most in re - watching this surrealistic , supernatural thriller is that argento 's directorial flair and stylish visuals are matched by a near - fully coherent narrative .
screenplays have always been his achilles heel ; confusing subplots , gaping holes , totally illogical incidents and reactions .
no question : argento has always been a better director than a writer .
fortunately , he gets the plotting pretty well right with suspiria , taking his cue from a book by thomas de quincey called " suspiria de profundis " .
the film 's storyline suffers from no major lapses in logic , provided one can accept the premise of a ballet school being a front for a coven of witches .
jessica harper plays an american who travels to germany to further her studies in dance .
arriving at the school late at night in driving rain , she sees a girl leave and run into the storm in a clearly distressed state .
what happens next - and i do n't make the comparison lightly - is a murder sequence that for intensity , shock value and sheer directorial flair ranks alongside alfred hitchcock 's infamous shower scene in psycho .
it 's quite possibly a homage to hitchcock , but with its baroque sets , graphic gore and brilliantly chaotic musical accompaniment by the gothic rock group goblin , this stunning sequence remains very much argento 's own .
though nothing else quite equals the intensity of suspiria 's opening 15 minutes , the film continues to be never anything less than engrossing as harper begins her own investigations and slowly comes to realise this is no ordinary ballet school .
we meet an assortment of slightly sinister characters , most notably the head ballet teacher played by alida valli in another one of those delicious sour - old - matriarch - from - hell roles she does so well .
several more violent murders ensue , including a startling scene in a deserted square where a blind man is . . .
well , i would n't want to spoil things now , would i ?
and the film 's climax , staged amid secret corridors and hidden rooms , has a gothic ghoulishness
that 's most impressive .
the english language versions of most argento movies usually suffer trimming , and not just for the violence - deep red and phenomena , for example , have been appallingly hacked about .
fortunately , the cuts to suspiria ( about 7 minutes in this version ) have not adversely affected the film .
the dubbing of the italian actors into english is quite competently done , too , excepting one appalling and unintentionally hilarious effort with a conversation between harper and a professor about the history of witchcraft in the region .
and the soundtrack ?
it is interesting to imagine what power the film would have lost if it had been scored by someone else .
as it stands , the use of goblin 's music in suspiria is outstanding .
apparently , argento played the soundtrack on location while filming so the actors could hear the music as they acted out their parts .
a stereo video player adds greatly to the viewer 's overall experience .
even better , see suspiria in a cinema , where you 'll get the added bonus of widescreen .
and the colours !
deep reds , eerie blues , a superb use of shadow and contrast .
the cinematography of luciano tovoli , whose more recent credits include reversal of fortune and single white female , is uniformly superb .
a nod also must go to production designer giuseppe bassan for his wonderful baroque interiors .
these kinds of settings are crucial to the atmosphere of argento 's more surreal excursions , the other most notable example being inferno ( 1980 ) on which bassan also worked .
suspiria is the film that broke dario argento into the major league of european directors , and it is fully deserving of its cult status .
the gore is at times a little excessive and overstated - that 's always been one of argento 's shortcomings - but overall
this is a fascinating , compelling example of italian horror .
[EX A]: P

[EX Q]: roger ebert asks in his review of sexy beast , " who would have guessed that the most savage mad - dog frothing gangster in recent movies would be played by . . .
ben kingsley ?
"
my response would be that anyone who has seen alan arkin in wait until dark , henry fonda in once upon a time in the west , or anthony hopkins in the silence of the lambs should have guessed it .
they should know that the way for a film to create a really creepy sociopath is cast someone who generally plays mild , sympathetic , or even ineffectual character roles .
the same characteristics that make an actor seem gentle in most of his roles can work in his favor when a role calls for him to be fierce and vicious .
that is the principle that works for kingsley in sexy beast .
gary " gal " dove ( played by ray winstone ) has retired from a london career of crime and is living on a luxurious villa in spain .
life has become a routine of sunning himself and relaxing .
but his paradise is about to be shattered by a one - two - punch .
the first punch is a boulder that comes rolling down the hill next to the villa .
the second punch comes from gal 's past .
back in london
gang boss teddy bass
( ian mcshane , tv 's lovejoy ) is planning to break into a safety deposit room in a bank and he wants gal .
he sends his most rabid henchman don logan ( ben kingsley ) to fetch gal .
don will accept any decision gal makes from " yes " to " certainly .
" however , if gal says " no " don will do whatever it takes to turn it into a yes including threatening guy 's ex - porn- star wife deedee ( amanda redman ) . in the meantime don knows just how to get under everybody 's skin .
kingsley makes don a compact package of fury and nastiness .
there are some serious problems in louis mellis 's and david scinto 's script that should have been caught before filming .
when we see the actual crime we have no idea why gal was so important to its success .
beyond an ability to use skin - diving gear , no special talents are required of him .
any local hood could have done what gal is needed for .
additionally the crime involves digging from a swimming pool to the bank vault , flooding the vault .
no only
could they have let the water out of the pool and avoided the complication altogether , but there is by far too much water to be accounted for by what was in the pool .
in spite of the provocative title , the story is cliched and overly familiar .
i know i have seen all the plot elements of sexy beast in old westerns like the law and jake wade .
the story is usually of the reformed outlaw , a robert taylor type , who has hung up his guns and is trying for a life of peaceful respectability .
the old gang , however , wants to do one more job with their old buddy and sends a rabid richard widmark type to go and git ?
i m .
it is not a great plot .
in sexy beast even the plot twists have gray beards .
perhaps the film has a little more respectability because it was made not as a western but as a stylish british gangster film .
it is an old plot dressed up to look new .
if the plot is old , at least the style is creative .
this is director jonathan glazer 's first film , but he has reputedly done some notable tv ads for guinness stout .
his style does have some unexpected touches including some very odd dream sequences .
cinematographer ivan bird uses a lot of half lit scenes .
we see one side of a person 's faces .
but the other side fades into the darkness , a sort of metaphor for the half - world these characters in - habit .
half of everything that is happening is also kept hidden .
us yanks will have a hard time with some of the dialog .
at least in my theater it was difficult to make out the words with the quiet speaking , the heavy accents , and the cockney language .
sexy beast is a very and familiar minor plot lent respectability in the us by being done in what is here a still somewhat novel genre , the london crime film .
the plot may be new to british crime films , but it would be overly familiar as a western .
further respectability comes from ben kingsley 's high - powered performance .
i give it a 4 on the 0 to 10 scale and a 0 on the -4 to +4 scale .
[EX A]: N

[EX Q]: mugshot ( director / writer / cinematographer / editor : matt mahurin
; cast : belinda becker ( stella ) , michael williams ( rumor ) , robert knepper ( joe / chris ) , robert walker ( random ) , willie lassic ( young brother of rumor ) , maxine joiner ( rumor 's mother ) ; runtime : 87 ; mortal films ; 1995 ) reviewed by dennis schwartz a bleak indie film about a stolen identity .
there 's not much more to this visually stylish film than what meets the eye , as it relies on shock to tell its story of a prolonged vicious mugging .
it falls into the category of being a pretentious art - house film , leaving a bitter taste in one 's mouth as it stereotypes its characters and unintentionally further inflames the racial issues .
it tries to make a heavy - handed point about disenfranchised black youths trapped by their environment , with their only way out being crime .
but the story is so filled with violence and its nyc setting looks like hell , that it 's hard to enjoy this film and to follow what the logic in the story is supposed to mean .
the relationship between the black mugger and his white victim is a cloudy one , which the film never determines what it wants to say about it .
matt mahurin is virtual one - man crew in putting this film together ( director / writer /cinematographer / editor ) , who is a still photographer in his day job .
the film works best as a visually challenging piece , as each shot looks like a photograph carefully telling the story unfolding .
a white photographer ( robert knepper ) is mugged by a black gang while he 's on a freelance assignment to take a photo shoot of harlem at night .
he becomes a victim of amnesia and his head is bloodied as he 's left in a deserted harlem building , as the gang leaves him for dead ; but , one of the muggers , rumor ( michael williams ) , comes back and pretends to help him .
he 's a would - be photographer , who keeps a scrapbook entitled mugshots in the project apartment he shares with his mother and younger brother .
keeping his victim in the dark about who he is by calling him joe and not telling him what 's happening , he becomes the photographer for a few days .
he enters the photographer 's stylish greenwich village apartment and steals his expensive camera , and decides to hold the mugging vic for ransom when he finds out he has a black girlfriend , stella ( belinda becker ) .
she 's the only one in the film who could act .
the film is stuck with a clumsy dialogue and an overuse of symbolism , as it ends with nothing more to tell after the shock and the violent situation it created except to beat it into the ground .
it could only be commended for how appealing the film looks , as if it 's a scrapbook of still photos put together to celebrate a mugging .
[EX A]:
N