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

Input: Consider Input: for about twenty minutes into mission impossible 2 director john woo ( the killer , hard boiled , face off ) appears to have made an exciting , elegant , charming spy thriller , kind of a post millennium james bond adventure with a strapping american ( read : unsophisticated ) hero more willing to drop kick villains than out fox them .
sadly , as the picture progresses , the final product begins to bear a closer resemblance to a souped up , two - hour long episode of magyuver .
and not a particularly good one at that .
what went wrong ?
mi2 begins flashily enough , that initial flash leading us to believe that it 'll soon give way to something of a plot , but it only gives way to more flash , then digresses further into a presumably unintentional parody of itself with much slo mo posturing and countless action set pieces wherein bad guys seem to deliberately leap into the way of tom cruise 's firing gun just so they can die really cool .
early on , during a car chase between soon to be lovers ethan hunt ( tom cruise ) and nyah nordoff - hall ( thandie newton ) , woo works some of his trademark magic .
in one hypnotic , though completely inexplicable sequence , the director slows the action down to a languid semi - stall as cruise and his stunning opponent stare into one and other 's eyes with come hither sexuality ? ? ?
just as their respective cars smash and spin in accordance , coming ever so close to toppling over a neighboring cliff .
prior to this we see the famed trailer opener of cruise climbing a steep mountain , sans scaffolding , then leaping from one jagged rock formation to another .
why ?
i have n't the foggiest .
i doubt even john woo could provide you with a logical reply .
with mi2 woo has become a slave to the summer movie machine , the one that jettisons logic for gravity defying effects and story for more gravity defying effects .
it 's possible that these " spies " could be adrenaline junkies climbing mountains and crashing into each other as means to get off , though of course this is never explored .
the scenes i 've described are really only included to titillate , not to give any insight into character .
god forbid .
woo certainly knows how to make each set piece energetic , but they remain individual set pieces never connecting to form anything more than splices of beer commercial - like visuals .
still in terms of crackerjack eye candy , the opening has much to cherish .
cruise and newton first meet during a vigorous flamenco dance featuring several welcome woo devices ( the graceful slow mo artistry of synchronized movement juxtaposed against the stage 1 romance of two attractive individuals discovering how attractive the other is ) .
between the frantic dancing , woo trains his camera on cruise and newton as they make with some sensuous eye contact .
the scene is a little over the top in a bon jovi music video circa 1988 kind of way , yet it has style and something of soul , and woo casts a bit of a spell on us .
sure it 's all smoke and mirrors , but we can see that there happens to be a talented maestro behind this particular product .
thandie and cruise later meet in a bathtub in a scene that 's about half as playfully charming as the jennifer lopez \ george cloony trunk meeting in out of sight .
they flirt and exchange obvious double entendres .
newton bats her eyes flirtatiously .
cruise grins a little too slyly .
the cruise character , ethan hunt , has been drastically altered since the first film .
here cruise plays him more as a hip , sexual dynamo than the square jawed robot he impersonated in part 1 .
he 's cool and dashing , which is precisely the kind of role we want to see cruise in after watching him sleep walk through eyes wide shut ( which might just be the longest episode of red show diaries ever committed to film ) , and blustered his way through magnolia ( quite possibly the most overrated performance of the 90 's ) .
sadly as the film progresses we see less of cruise 's initial " i 'm the man !
" charm and more slo - mo close - ups of his preening mug .
mi2 falls apart on nearly every level during its repetitious third act , which is essentially one hour long action sequence that just wo n't stop .
the whole thing commences with an utterly generic gun battle ( the first gun fight in the film ) , which really should be unheard of in a john woo film , but alas this particular battle could 've been staged by anyone from renny harlin to joseph merhi ( of course excepting the " symbolic " pigeons who seem to find their way into every john woo picture ) .
we 've all seen guys slide across the floor in slo mo while firing a gun in each hand .
it is n't done any differently here .
the action is pure hard target \ broken arrow theatrics with nothing to propel it but the apparent need to see tom cruise drop kick face less villains while his hair whips stylishly in the wind .
he 's cool for sure but
he 's made to be as empty as the movie .
the actor is n't used so much for his boyish appeal as for his chiseled looks ; he smiles narcissistically into the camera at literally any moment , be it during a gunfight , before one or after one .
when he 's not beaming away , he 's staring into the lens with cold eyes trying to look mad as hell , but woo 's editing seriously undermines the effort .
he fetishizes cruise 's angular face with such glee that it turns into a naked gun style spoof .
i half expected cruise to peel off his facemask and reveal that he 's really austin powers .
in a classic woo action moment , ethan hunt struts past a fiery doorway glaring at the baddies within its frame like a pin - up boy angel of death .
the gunfight turns into a daring escape which turns into a reckless mission which turns into a motorcycle attack in which bad guys seem to angle directly for cruise to kill them like some kind of mass suicide ritual ( one dumb bastard even jumps his bike over the gun toting cruise , basically inviting our handsome hero to shoot him in mid air which he does ) .
the lead bad guy ( played by the appropriately british dougray scott ) and cruise face off in a mentally deficient game of chicken ? ? ? on motorcycles .
though instead of jumping off to the side at the last moment , the two grown men leap directly into the other giving each other a mid air bear hug , only to fly about a hundred feet ( still in bear hug position ) , land on a beach below and begin a mano - e - mano fist fight that ends with the bad guy pulling a " so you thought i was dead . . .
"
.
not to worry , cruise takes care of the problem without even breaking a sweat .
what a hero !
you may have noticed that i opted not to describe an iota of mi2 's plot .
my reasoning is simple : i 'm not sure of any good it would do .
the film itself has absolutely no concern with story , only with hurtling forth to the next " special " effect .
i was n't kidding when i told a friend of mine that mi2 has less plot than the average aerosmith video .
nobody will go to this for the plot , and if they do they 'll surely regret it .
as summer movies evolve ( or devolve ) character and plot have become increasingly whittled down to nearly nothing .
in mi , the plot seemed to be built around brian de palma 's ( that film 's director ) stylistic flourishes , while in mi2 the plot only serves to give us an intermittent breather from woo 's non - stop masturbatory pandemonium .
it 's irrelevant in every sense , as is character .
all that ultimately matters are those pesky smoke and mirrors .

Output: N


Input: Consider Input: sam ( matthew broderick ) is an astronomer in a small american town and engaged to teacher linda ( kelly preston ) .
he is head over heels in love and lindas sudden departure to new york city to live with her new lover anton ( tch ? ky karyo ) comes as a complete surprise to him .
but as we all know love is blind and so sam leaves for new york as well to win her back .
he moves into an abandoned house across the street from anton 's apartment and installs a camera obscura to watch them .
suddenly anton 's ex maggie shows up , but she does not want her former lover back .
on the contrary , all she wants to do is vaporize him .
she may say that she does n't want to kill him , but the possibility does n't bother her too much either .
after all , people die every day .
in spite of their different motives the two team up and fall for each other as things move on .
the story sounds like something we all have seen a million times .
but we have n't .
griffin dunne brings us the most charming comedy
since " while you where sleeping " .
the camera obscura adds a " special something " to the movie and makes it an exceptional romantic comedy .
everything about the movie is perfect , from set design to casting .
the dialogues are inspired and the touches of black humor add a certain bite .
meg ryan , known from " when harry met sally " or " sleepless in seattle " , surprises in a role that may finally help her get rid of her sweet little girl image .
she impresses the viewer as a maneating biker girl .
even more surprising is the fact that the viewer believes her , much more so than in last years " courage under fire " where she played a gulf war pilot .
matthew broderick is the goodnatured and somewhat naive sam who has trouble accepting reality .
the viewer can tell that he does n't only watch the stars but also tries to reach out for them .
he has trouble keeping in touch with reality .
after all , who would leave everything behind to chase a lost love ?
his naivet ? that we do n't question for a minute throughout the movie clashes with maggies exaggerated wish for revenge .
she would do anything to harm anton .
she does n't hesitate to use sam for her plan and makes him understand right from the beginning that nothing will happen between the two of them .
that makes the scenes when they innocently share a bed , have potatoe chips and watch the action across the street like a saturday night show on tv even funnier .
tch ?
ky karyo is perfect as anton .
he is , well , repulsive .
that 's all there is to say about him .
you ca n't really manage to pity him , even after all his mishaps .
he not only took sam 's bride away from him , he is also a french chef .
worlds collide , i .
e .
the usa and france .
this can only go wrong .
even if maggies revenge schemes are at times shocking , you just ca n't sympathize with a man who plays " je t'aime . . .
moi non plus " on his tape deck .
not everyone is captured by the french charme that linda and even maggie fell for .
sam certainly is n't . too bad for anton .
for him things take a turn to the worse .
" addicted to love " is one of this year 's most pleasant surprises .

Output: P


Input: Consider Input: if you 're debating whether or not to see _
breakfast_of_champions _ , ask yourself one simple question : do you want to see nick nolte in lingerie ?
the only people who would get much enjoyment from alan rudolph 's chaotic adaptation of the kurt vonnegut novel is the cross - section of the population with the unhealthy urge to see that unpleasant sight .
everyone else -- and
i 'm hoping that 's most people -- would be wise to
steer clear of this excrutiatingly unfunny mess .
actually , though , the sight of nolte in high heels is one of the more amusing things about this muddle , which focuses dwayne hoover ( bruce willis ) , the owner of dwayne hoover 's exit 11 motor village in midland city .
not only is he a huge success as a businessman , he 's also something of a celebrity , his face made recognizable by an ongoing series of television commercials .
with a nice home and family to boot , dwayne appears to have it all the ingredients to be happy -- yet he 's not .
his wife celia ( barbara hershey ) is perpetually in a pill - induced haze ; his son george ( lukas haas ) is a flamboyant lounge singer who goes by the stage name " bunny .
"
not only that , the environmental protection agency is on dwayne 's ass over a building development project .
it 's enough to send dwayne on a nervous breakdown
-- that is , if he does n't succeed in blowing his brains out first .
meanwhile , midland city is about to host a fine arts festival , and the guest of honor is one kilgore trout ( albert finney ) , a writer who is far from the renowned author the festival 's organizer ( buck henry ) was led to believe -- in fact , he 's a penniless hack who writes second - rate sci - fi that appears in porn magazines .
his trek to midland city is also a spiritual journey , one that reaches its apex after meeting dwayne , who for some reason thinks that trout will hold for him all of life 's answers .
the above is already a longer plot synopsis than i usually give in my reviews , but , ironically , i have barely scratched the surface .
i have n't yet mentioned wayne hoobler ( omar epps ) , an ex - con with an obsessive admiration for the similarly - named dwayne .
then there 's the matter of francine ( glenne headly ) , dwayne 's devoted secretary .
not to mention dwayne 's employee and old friend harry lesabre ( nolte ) , the one with the secret penchant for cross - dressing .
and so on .
the film is essentially dwayne 's story , but too often rudolph goes on distracting tangents with the eccentric peripheral players that one often wonders what the point is .
rudolph does arrive at a point ( more on that later ) , but it 's blunted and obscured by his hyperactive approach to the material .
the surreal visual style , complete with printed words flying through the air and into dwayne 's ears , is obviously meant to convey a sense of madness , but its bludgeoning nature is likely to make viewers mad .
the actors are called on to act accordingly , resulting in some of the worst , most overdone work
all of them have ever turned in .
willis fares best of all --
but that 's because his frozen expression of befuddled bewilderment mirrors that of the audience .
with such an aggressively outrageous atmosphere for nearly all of its running time , it comes as a shock when things suddenly turn serious , and rudolph tries to make a statement .
unlike _ american_beauty _ ( a film that _ breakfast _ resembles in more than a few ways , to its great detriment ) , there is n't any palpably earnest undercurrent that would prepare the audience for the big shift . as such , the cartoony characters fail to win a sympathy that needs to be earned ; and the film attempts , to no avail , to reach a profundity that it does n't deserve .
vonnegut 's original novel is considered a classic , but it had been called unfilmable -- the same that was said of hunter s .
thompson 's _
fear_and_loathing_in_las_vegas _ , which was disastrously committed to film last year by terry gilliam .
with the similar failure of
_ breakfast_of_champions _ , will hollywood ever learn that books labeled " unfilmable " inevitably results in a film that is unwatchable ?
likely not .


Output: N