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.

I'm sure this was one of those "WOAH!" attractions in 1982 when Epcot opened, but now it's just silly. The film's message is cliché. The Circle-Vision is disorienting. And that awful song at the end is grating. And I really wish they'd install seats. After so much walking, all you want to do is sit down for a few minutes. And when you hear there's a film to see it sounds pretty glamorous! You get entertained while sitting down, right? WRONG! You're standing there for 18+ minutes leaning against a short little railing. Disney should make a newer Maelstrom like attraction to liven things up and replace this dull, lackluster film. NOT FUN. Skip it. In fact, skip Canada altogether unless you're eating there. Move directly to the United Kingdom.
negative

There are many adaptations of Charlotte Brontë's classic novel "Jane Eyre", and taking into consideration the numerous reviews written about them there is also a lively discussion on which of them is the best. The short film adaptations all suffer from the fact that it is simply not possible to cram the whole plot of the novel into a movie of about a 100 min. length, consequently these movies only show few parts of the novel. The TV series have proved to be a more suitable format to render all the different episodes of the heroine's life.There are three TV mini series, released in '73, '83 and 2006. The 2006 version is not only the worst of these three, but the worst of all Jane Eyre adaptations and a striking example of a completely overrated film. The novel's beautiful lines are substituted by insipid and trivial ones, and crucial scenes are either deleted or replaced by scenes which have nothing whatever to do with the novel. What it all leads to then is that the characters portrayed have not only nothing in common with the Rochester and Jane of the novel and behave in exactly the opposite way as described in the book, but that also their behaviour and language is absolutely not consistent with the behaviour of the period in which the novel is set. It is a silly soap opera, in which the actors look and act as if they had been put in the costumes of the 1850ies by mistake. This "Jane Eyre" (as it dares to call itself) is indeed a slap in the face of Charlotte Brontë.The 1973 version is very faithful to the novel in that the long dialogues between Mr. Rochester and Jane are rendered in nearly their full length. But what works beautifully in the novel does not necessarily work beautifully on the screen. At times the language of the novel is too complex and convoluted as to appear natural when spoken on screen, and the constant interruptions of the dialogues by Jane's voice-overs add to the impression of artificiality and staginess. And despite the faithfulness to the novel the essence of the scenes is not captured. Another problem is the casting of the main characters. Sorcha Cusack's portrayal of Jane as a bold, self-confident, worldly-wise young woman is totally at odds with the literary model, and Michael Jayston, although a good actor, does simply not possess the commanding physical presence nor the charisma necessary to play Rochester. Although a decent adaptation it simply fails to convey the passion and intensity of the novel and never really captivates the audience.All the faults of the '73 version stand corrected in the TV mini series of '83 with Timothy Dalton and Zelah Clarke. Although from a purist's point of view Timothy Dalton is too handsome, tall and lean to be Rochester, he possesses the essential qualities for the role: He has an imposing physical presence, great magnetism and an air of self-assurance and authority. And despite his undeniable handsomeness he looks grim and stern enough to play the gloomy master of Thornfield convincingly. But the excellence of his performance lies in the way he renders all the facets of Rochester's character. Of all the actors who have played Rochester he is the only one to capture them all: Rochester's harshness, nearly insolence, his moodiness and abruptness, as well as his humorous side, his tenderness, his solicitude and deep, frantic love. Dalton's handling of Charlotte Brontë's language is equally superb. Even Rochester's most far-fetched and complicated thoughts ring absolutely true and natural when Dalton delivers them. He is the definitive Rochester, unsurpassed and unsurpassable, and after watching him in this role it is impossible to imagine Rochester to be played in any other way or by any other actor.Zelah Clarke delivers an equally excellent performance in a role that is possibly even more difficult to play well than the one of Rochester. She portrays exactly the Jane of the novel, an outwardly shy, reserved and guarded young woman, but who possesses a great depth of feeling and an equally great strength of will. She catches beautifully the duality in Jane's character: her modesty and respectfulness on the one hand, and her fire and passion on the other, her seeming frailty and her indomitable sense of right and wrong. She and Dalton have wonderful chemistry and their scenes together are pure delight.As regards faithfulness to the literary model this version also quotes verbatim from the novel as does the '73 version, but with one important difference: The dialogues are shortened in this version, but the core lines which are essential for the characterisation of the protagonists and the development of the plot are rendered unchanged. Thus the scriptwriter avoided any artificiality of speech, while still fully preserving the beauty and originality of Charlotte Brontë's language. And in contrast to the earlier BBC version the essence of each scene is perfectly captured.The plot of the novel is followed with even greater accuracy than in the '73 series. It is nearly a scene for scene enactment of the novel, where equal time and emphasis is given to each episode of Jane's life. It is the only Jane Eyre adaptation that has a gypsy scene worthy of the novel, and the only one which does full justice to the novel's pivotal and most heartrending scene when Jane and Rochester meet after the aborted wedding. Timothy Dalton in particular plays that scene with superb skill. He renders with almost painful intensity Rochester's anguish as he realizes Jane's resolution to leave him, his frantic attempts to make her stay and his final despair as she indeed leaves him. It is a heartbreaking, almost devastating, scene, which will stay with the viewer for a long time.With even the smaller roles perfectly cast, an excellent script and two ideal leading actors this is the definitive and only true "Jane Eyre".
positive

Before the regular comments, my main curiosity about THIS IS NOT A LOVE SONG is that while there's a running time listed on IMDb of 94 minutes, the DVD from Wellspring Media in the United States runs 88 minutes. Any input on this is appreciated!Two friends with very rough lives take on the road for an adventure. What they wind up in is just that, with one accidentally shooting a girl and the two escaping by foot into the countryside. Rather than just a big chase, the film is complicated by the the daft and rather childlike Spike behaving inappropriately, and clutching his boom box like a teddy bear. Some viewers may dislike the story based solely upon the character Spike, but without a bit of frustration added to the story, the film would have been too easy. You'll notice the way the more stable character Heaton refers to Spike as "big man" in contrast to Spike's "kid out of control" attitude and behavior. Frankly, I too was aggravated by Spike's ridiculous actions, especially the spray can sniffing, but in a desperate situation it's apparent someone of his mentality would choose an temporary escape. But, Heaton was there to keep things in check up until things get way over his head as well.Kenny Glenaan as Heaton is a marvel, and after a while I quit wondering why in the heck he would want to pick Spike up from prison and continue a friendship, due to Glenaan's great performance. After all, there are many many reasons during their run that would be a good idea for Heaton to just ditch Spike and try to save himself. I suppose Heaton felt like a protective older brother to Spike, and the loyalty between the two is hard to break -- until things get too desperate.While some of the cinematography is indeed artsy, it does offer more flavor to story instead of just shots of the men running through the wilderness. The beautiful landscapes, rain, and vast gray skies offer a somber tone that increases the feel of the tragic circumstances. The score is unusual as well, and the use of Public Image Ltd.'s song "This Is Not A Love Song" and as the title of the film is quite smart.Overall, it's understandable if you don't care for THIS IS NOT A LOVE SONG as it's focused on two contrasting personalities escaping from another man determined to hunt them down (played by a cool, quiet David Bradley). It's not big-budget action entertainment. For the rest of us that enjoy seeking out something minimal and dramatic, it's time worthwhile spent, and it DOES offer some extremely tense moments that have you holding your breath a bit.I'm really enjoying the films coming out of Scotland recently, with the likes of this one, Dog Soldiers, and The Devil's Tattoo. I'm also a bit thankful for the subtitles offered on this DVD, as the accents are sometimes lightning fast and difficult for some viewers like me to understand. Frustrating, dark, and often tense, THIS IS NOT A LOVE SONG is very tragic yet engrossing storytelling.

positive