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

Example Input: call " hush " " stop or my mom will kill .
"
or " mommy fearest .
"
or " the hand that robs the cradle .
" call it whatever you want , but certainly do n't see it unless you 're in desperate need of a bad movie - induced chuckle -- " hush " scores
so many unintentional guffaws that it almost qualifies as a guilty pleasure .
chalk its losses up to frequent stupidity lapses and apparent post - production tinkering ( it was supposed to open about a year ago ) , the latter of which appears to have given " hush " a send - off that 's downright infuriating .
it 's too bad that " hush " is so laughable , because the on - screen talent -- including the pairing of gwyneth paltrow and jessica lange -- is nothing to laugh at .
paltrow and johnathon schaech play helen and jackson , a photogenic new york couple on their way to spend christmas vacation at his wealthy , well - to - do family 's horse farm / estate kilronan .
jackson 's mother martha ( lange ) runs kilronan all by herself , and her genteel southern hospitality makes helen feel welcome immediately -- even if her first meeting with martha takes place while helen is in the altogether , caught red - handed after a bedroom romp with her husband - to - be .
but it seems that martha 's friendly smile masks a much more threatening demeanor ; she 's what you 'd call someone who loves too much .
martha eagerly , deviously wants a grandchild , and then helen will be expendable , as far as she 's concerned .
if there 's one reason to catch " hush , " it 's lange .
she treats the pedestrian screenplay better than it deserves to be treated , injecting martha ( poorly written though she may be ) with a little empathy to level out the psycho - playing field .
when she delves into martha 's dark side ,
predictable cliches
-- chain - smoking , staring in mirrors , praying in a confessional to a priest who is n't there , poking a hole in helen 's diaphragm so she 'll become pregnant ( and she does ) -- abound , but
it 's moderately entertaining junk
because lange is such an interesting actress to watch .
veteran performer nina foch is smart and tart as jackson 's wheelchair - bound paternal grandmother .
the rest of the cast looks ill and uncomfortable , especially paltrow .
but can you really blame them ?
the character relationships in " hush " hold a certain amount of promise , at least until their psychological impact is blown out of the water by sheer stupidity .
idiotic situations
( martha yells at a nearby horse so it will bolt up and knock helen over ) compliment idiotic dialogue
( " why did you yell ?
" helen yells back at martha ) , and the film takes the form of one of the shoddier fill in the blank - from - hell flicks ever made .
you can see through a great deal of martha 's actions and lies from their conception ; why do people who have known this woman for years longer than we have never figure things out ? does nobody communicate or read the newspaper in this town ?
if any of her potential victims thought , acted or behaved like normal people , " hush " would be a really short movie .
and then there 's the climax and ending , which abruptly come when helen starts having contractions after eating some pound cake spiked with a labor - inducing drug normally used on horses .
after a really weird chase scene , martha calmly knits in a rocking chair while forcing helen to give birth in a bed all by herself .
i wo n't spoil what happens next except to say that it 's contradictory , illogical and ( probably , since i 'm no doctor ) medically impossible .
the final scene offers no closure , no resolution , no confrontation whatsoever .
it 's just there , dangling amidst silent displeasure .
no one should like this ending , regardless of their feelings on the preceding material .
perhaps " hush " 's title is a plea to silence its audience 's likely bitter word of mouth while exiting the theater .
Example Output: N

Example Input: based on the novel set in 1914 by joseph conrad , victory spins a tale of a pair of lovers , heyst ( william dafoe ) and alma ( irene jacob ) , who seek refuge on heyst 's isolated island .
however , their idyllic world begins to crumble upon the arrival of mr jones ( sam neil ) , martin ricardo ( rufus sewell ) and their servant , pedro ( graziano marcelli ) , who have come to steal heyst 's rumoured plunder .
while the novel is largely complex in characterization , the film sadly transposes conrad 's characters into lacklustre leads , the most disappointing being heyst himself .
conrad 's heyst adheres religiously to his late father 's ways of detachment and isolation .
his ascetic lifestyle is thrown into question when he meets alma , a helpless orchestra girl who charms him with her voice .
the struggle to embrace the arrival of alma into his solitude , however , is lost in mark peploe 's ( director and writer ) diluted version of heyst . without properly establishing the crucial details of heyst 's character , all that is left of conrad 's main character is a very shallow treatment of his internal conflict between detachment and human involvement .
on the one hand , actualizing the subtext is a mammoth task ( though not impossible ) , but on the other hand , dafoe 's flat acting can not be excused as an attempt at stoicism .
in the end , we are supposed to witness heyst renounce his philosophy and finally come to an understanding of what it is to love another .
the final transformation , while perceptible , lacks the cathartic revelation which is undeniable in conrad 's novel .
its absence in the film is unforgivable .
the film seems more concerned about moving the plot along when so much has yet to be said about the relationship between the two complete strangers .
alma is supposed to have overcome great emotional barriers in the relationship , namely heyst 's underlying philosophy of detachment , which heyst himself grapples with .
the struggle against heyst 's ignorance of true human involvement accounts for much of the greatness of alma 's love for him .
jacob , fair - skinned , gentle and yet passionate , handles the role with precision , detailing nuances where possible .
unfortunately , she is let down by a superficial script .
the couple 's relationship develops too hastily , leaving all subtlety effaced and replaced with a blatant show - and - tell approach .
all we know of the characters are mostly explained by their lines alone .
this is unsatisfactory when so much of the turmoil experienced by the two stem from their buried thoughts and emotions .
the sketchy handling of their relationship stands out as sorely as dafoe 's american accent ( an inappropriate one since heyst spent most of his life in london ) .
the other characters such as schomberg ( jean yanne ) , the owner of a hotel , and mr jones ( sam neill ) , also fall short of conrad 's meticulous characterization .
while schomberg should have been more menacing and vindictive , mr jones should have been portrayed as something more of an enigma .
sam neil 's caricature of a slightly stout , effeminate and soft - spoken gentleman - at - large nullifies the effect intended by conrad who describes mr jones as " an insolent spectre on leave from hades , endowed with skin and bones and a subtle power of terror " .
poor characterization aside
, kudos goes to rufus sewell for his excellent portrayal of ricardo , secretary to mr jones , a reckless ruffian capable of murder .
sewell , with his cockney accent and large expressive green eyes , becomes the true terror of the unholy trinity , masterminding deceitful plans behind jones ' back .
at the same time , we are entertained by the foolhardiness of his plans .
despite the authentic setting and marvellous cinematography by bruno de keyzer ,
very few images are left behind for us to savour after the film has ended
. sourabaya and its surrounding islands and volcanoes may have their charm , but mean nothing once the film fails to capture the essence of an epic , which is what victory deserves to be .
the delicately inter - woven complexities in the love story are lost to an inadequate production .
at the end of the film , we are told that perhaps alma 's victory was in teaching heyst how to love .
a hollow victory indeed .
the flying inkpot 's rating system :
* wait for the video .
*
* a little creaky , but still better than staying at home with gotcha !
*
* * pretty good , bring a friend .
*
*
* * amazing , potent stuff .
*
*
*
* * perfection . see it twice .
Example Output: N

Example Input: play it to the bone ,
the newest addition to ron shelton 's sports - themed repertoire fails in numerous ways .
like most of shelton 's other great films ( bull durham , white men ca n't jump )
, this dud unsuccessfully attempts to use athleticism as a method of connecting characters and creating interesting subplots .
shelton 's films are not considered sports films , but they do heavily revolve around a specific game to tell a story .
shelton has been so good in the past at using sports to analyze the structure of society that from his collection of films we are given an examination of different classes and races living in various different regions .
play it to the bone is unsuccessful because not only is the boxing theme dull , but the side story of the two guys and a girl travelling across the country is even worse .
the film has no social message like its predecessors .
the relationship between the friends , two failed boxers who must face off against each other in the ring for 50 thousand dollars , is very confusing for a number of reasons .
the whole film , since it is primarily a " buddy picture , " depends on the strength of the friendship the two characters have for each other .
unfortunately , it is a very weak bond for the reasons listed below .
1 )
we never see how cesar ( antonio banderas ) and vince ( woody harrelson ) meet .
the two are so different from each other , that a scene of how this odd friendship developed should have been mandatory .
2 ) vince and cesar argue every moment possible on their trip to las vegas .
there is not one convincing moment dedicated to seeing the characters laugh together or actually agree on something .
3 )
the third character on the trip , grace ( lolita davidovich ) stands in the way .
she is in nearly every scene with them , making it impossible to understand the difficulty the two male characters are going to have when they fight each other .
4 ) there are two many interfering , irrelevant side stories .
vince is convinced that he sees jesus on a regular basis , cesar yells at the sky in spanish when he is angry , and grace tries to sell her inventions to hotel owner robert wagner .
these boring tales only hurt
the central plot .
5 ) when it comes to time for the two men to fight , they do n't even hesitate to pound each other .
was n't the whole point of the road trip to show that these two are friends who could never hurt each other ?
by the time the road trip part of the movie is over with , the film wants to be over .
shelton , on the other hand , continues to tell his story .
forty five painful minutes remain .
the boxing scene between cesar and vince starts out very powerful and interestingly different from other boxing movies .
however , the fight goes on for way too long and becomes very repetitive and predictable after awhile , kind of like the whole film .
Example Output:
N