In this task, you are given a review of movie. Your task is to classify given movie review into two categories: 1) positive, and 2) negative based on its content.

If, like me, you like your films to be unique, and unlike the majority of other movies, then I wholly recommend that you check out The Beast. The film is a grotesque, erotic, fantasy fairytale that centres around a mythological 'Beast' that is rumoured to wander the grounds of a French mansion and lusts after women. The film is very daring with it's subject material, and that is something to give it credit for. The theme of bestiality is a definite taboo, and for good reason, I might add; but the film conveys it; straight and to the point. Like other films that handle a taboo subject at their centre, The Beast could have gone around it, and made us use our imagination to fill in the gaps, but Borowczyk didn't do that, and he is brave in that respect, especially as making a film like this will leave him open to all kinds of criticisms, but the fact that he went ahead with it, in my view, means a big thumbs up for the guy.The film starts off with a sequence that sees a randy male horse mount a female. This opener puts an exclamation mark on the film and prepares the audience, in some ways, for the incredible, tour de force of eroticism that they are about to see. The scenes which see the beast mate with the woman are gratuitous and shocking, and are bound to offend many people (hence the reason it was banned for over 20 years), but these scenes are not merely an excuse for Borowczyk to shock the viewer; this film has a defining point. As said during the film; the only difference between man and beast is intelligence. Both man and beast have instincts, only man knows how to control them. The Beast explores this difference between man and beast through sexuality; the fantasy sequence in which the beast appears epitomises the control of human desire, and it is only when the central female character lets go of her control that she can see the beast. The film has strong themes of the age-old story of 'beauty and beast' weaved into it, and overall this is a shockingly morbid tale of lust, but not without a moral.Many criticise the scenes around the film's shocking sex sequences for being boring, but these scenes are important to the film's story. Without these scenes, we wouldn't get to know the characters or the story of the beast, and, most importantly; the story of 'beauty and the beast' would not be able to have it's horrifying conclusion dealt to the audience, and as that is one of the key elements of the film; it would be a real shame. Besides that, Borowczyk keeps his audience entertained through these scenes, not with shocks, but with dialogue and the upper class persona of the family, along with the beautiful shots of the mansion's ground would not be seen, and therefore the stark contrast between that and the events later on in the film would not exist either.Overall, The Beast is a shocking film. It's portrayal of a taboo subject and the shocking way it is portrayed will ensure that this film is not for everyone. However, if you can get over the film's shock, and embrace The Beast; what awaits is a skilful and beautiful piece of art that should not be missed by anyone that is willing to give this film a chance.
positive

Well this film has certainly had a fair amount of hype; From the buzz at the Toronto Film Festival to gushing reviews on CBC Radio. A refreshing, wacky, hilarious indie movie apparently. I'd been looking forward to it for months.How can I put it this simply? It sucked in a very big way. An exercise in cinematic lameness that makes Adam Sandler look like a comic genius.At best it was mildly amusing and at worst coma inducing. An amerterish script badly directed and shoddily edited into a ramshackle mess.And what was with the music being 500db louder than the rest of the sound track? That was about the only truly odd thing about it.If you want to see a genuinely funny, bizarre movie involving aliens then try Repoman. There is no comparison!
negative

This is a thoroughly diabolical tale of just how bad things can go wrong. A simple robbery. Pick up some serious change. Get our finances together and everything will be hunky-dory. Butmom and pop's jewelry store? No problem. Insurance pays for it all. No guns. Nobody gets hurt. Easy money.Older, more successful (it would appear) brother Andy (Philip Seymour Hoffman) has a few minor problems. Heroin addiction, cocaine habituation. A wife (Marisa Tomei) thatwell, he can't seem to perform for. His flat belly days long gone. Younger, sweet, slightly dim-witted younger brother, Hank (Ethan Hawke) with a few dinero problems of his own. Behind in child support payments for his daughter, in debt to friends and relatives, not exactly wowing them in the work of work, etc.Sydney Lumet, in this performance at the age of 82 (!), directs and gets it 99.99 percent right, which is hard to do in a thriller. I have seen more thrillers than I can remember and most of the time the director gets the movie printed and lives with the plot holes, the improbabilities, the cheesy scenes, and the hurry-up ending. Here Lumet makes a thriller like it's a work of art. Every detail is perfect. The acting is superb. The plot has no holes. The story rings true and clear and represents a tale about human frailty that would honor the greatest filmmakers and even the Bard himself.Hoffman of course is excellent. When you don't have marquee, leading man presence, you have to get by on talent, workmanship and pure concentration. Ethan Hawke, who is no stranger to the sweet, little guy role, adds a layer of desperation and all too human incompetence to the part so that we don't know whether to pity him or trash him. Albert Finney plays the father of the wayward sons with a kind of steely intensity that belies his age. And Marisa Tomei, who has magical qualities of sexiness to go along with her unique creativity, manages to be both vulnerable and hard as nails as Andy's two timing wife. (But who could blame her?) It's almost a movie reviewer's sacrilege to give a commercial thriller five or ten stars, but if you study this film, as all aspiring film makers would be well advised to do, you will notice the kind of excessive (according to most Hollywood producers) attention to detail that makes for real art--the sort of thing that only great artists can do, and indeed cannot help but do. (By the way, I think there were twenty producers on this filmwell, maybe a dozen; check the credits.) All I can say in summation is, Way to go Sydney Lumet, author of a slew of excellent films, and to show such fidelity to your craft and your art at such an advanced agekudos. May we all do half so well.Okay, the 00.01 percent. It was unlikely that the father (Albert Finney) could have followed the cabs that Andy took around New York without somehow losing the tail. This is minor, and I wish all thrillers could have so small a blip. Also one wonders why Lumet decided not to tell us about the fate of Hank at the end. We can guess and guess. Perhaps his fate fell onto the cutting room floor. Perhaps Lumet was not satisfied with what was filmed and time ran out, and he just said, "Leave it like that. It really doesn't matter." And I think it doesn't. What happens to Hank is not going to be good. He isn't the kind of guy who manages to run off to Mexico and is able to start a new life. He is the kind of guy who gets a "light" sentence of 10 to 20 and serves it and comes out a kind of shrunken human being who knows he wasn't really a man when he should have been.See this for Sidney Lumet, one of Hollywood's best, director of The Pawnbroker (1964), The Group (1966), Serpico (1973), Dog Day Afternoon (1975), Network (1976), and many more.

positive