In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

[Q]: Review: I like my Ronald Colman dashing and debonair, the fellow you see in such films as If I Were King and Kismet. I like him as the epitome of civilization as in The Lost Horrizon and Random Harvest. A brooding Colman isn't a favorite of mine.But in A Double Life precisely because his part as actor Anthony John is so offbeat for him, Colman was recognized with a Best Actor Oscar for 1947. It became his best known part.Colman is an actor who really does take the Method quite seriously. He's just finished a successful run in a comedy of manners and he's quite the jovial fellow. For a change of pace now that that play has concluded its Broadway run, Colman is bringing a revival of Othello to New York. About as opposite a part as you can get.His leading lady in both is his former wife Signe Hasso who loves him dearly, but can't take his change of moods when he's at work. Colman loves her dearly as well and wants her back. But he's heading for a mental breakdown when he starts confusing himself with the jealous Moor Othello and Hasso with her role as Desdemona.Unfortunately Shelley Winters as a poor waitress who a depressed Colman picks up gets in the way of his madness and she winds up like poor Desdemona in the play. Killed in the same manner and now it's a matter for homicide cop Joe Sawyer.Colman's performance is so good that one does kind of wonder is this an occupational hazard with actors? I'd shudder to think so, were there any unsolved homicides in or around Laurence Olivier and Orson Welles then they essayed Othello. I could never quite buy the story for that reason, but I certainly do applaud Ronald Colman and what he did with the part. I'm sure there was a tinge of regret in him winning the Oscar though because one of the other nominees was his good friend William Powell for Life With Father. Others in the running that year were Gregory Peck for Gentlemen's Agreement, John Garfield for Body and Soul, and Michael Redgrave for Mourning Becomes Electra.Colman gets able support from the rest of the cast including Edmond O'Brien who finds himself in the unwanted part of Cassio in Colman's jealous fantasy. Still you will find no Iago equivalent in A Double Life, no one prodding the jealousy, it's all in his own mind.And that from one of the most cultivated and civilized minds of the last century. Question: is it a positive review?
[A]: yes


[Q]: Review: This early John Wayne Lone Star western has a bit more going for it than the run-of-the-mill oaters Wayne had been making for Lone Star up until that time. For one, it has his old friend Paul Fix in it; Fix, being a much better actor then the standard Lone Star villain, brings a much needed professionalism to the surroundings instead of the usual hesitant line-readings often delivered in these oaters. The plot, about mistaken identity, payroll robbery and murder, is as trite and perfunctory as you'd expect it to be in a 1930s low-budget western, but Wayne's strapping good looks, easygoing charm and way with a line go a long way to making this more enjoyable. Plump, balding Eddy Chandler isn't quite believable as Wayne's womanizing "partner", and there's a running gag about something that happens whenever Chandler and Wayne are about to get into a fistfight that grows tiresome. On the other hand, Wayne's love interest is played by none other than Mary Kornman, the little "Mary" of the early "Little Rascals" fame. She is a grown-up 20-year-old now, blonde and cute as a button. Most of Wayne's leading ladies in these Lone Star/Monogram "B's" were fairly bland and colorless, but Mary is perky, cute and, yes, sexy. There's a scene in the general store, where she works, in which Wayne asks her to get him a bottle of "nerve tonic", which happens to be on the top shelf, so she has to get a ladder and climb up to the top shelf. Wayne's ogling her pert little backside as she ascends the steps, then again as she comes down, then again a few minuter later when he asks her to climb up and get him another bottle is surprisingly racy for a film made in 1935. Wayne makes no attempt to hide the fact that he is definitely checking out her butt. Anyway, it's an interesting little "B", not great, but not as choppy and random as many of his LoneStar productions of the time. The final gunfight isn't handled all that well, and Chandler gets somewhat irritating after a while, but all in all, it's worth a look, if only to see a cute and sexy Mary Kornman. Question: is it a positive review?
[A]: no


[Q]: Review: The Rookie suffers from so much. There are the random musical songs interspersed through the movie, the long pointless script and enough grating slapstick to make Jerry Lewis blush. Noonan and Leavitt just don't know when to quit. It takes a full hour before the story finally gets to the main plot and the characters are shipwrecked. Then the guys start playing Japanese sailors with the standard racist caricature of the day. It is a shame the funniest parts of the movie are when Noonan and Leavitt are playing the stupid, stereotyped Japanese guys. But, it gets pretty tiring after switching back and forth between two sets of characters. Then it just abruptly ends. Even a naked Julie Newmar in a towel can't save this one.There is really little charm in the movie and it is over a half hour too long. The story just flounders along trying to set up funny situations and failing. Stick to Martin & Lewis. At least Deano had charm and Jerry had that animated face. Question: is it a negative review?
[A]:
yes