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

Q: note : some may consider portions of the following text to be spoilers . be forewarned .
like its own opening shot , from out of the darkness boogie nights triumphantly explodes upon the film scene with stunning authority and clarity , persuasively heralding its helmer paul thomas anderson as a bonafide major talent .
a sprawling epic set in the heart of the disco era and focused upon the ascension and decline of a troupe in the adult film industry , boogie nights is an astonishingly ambitious feature film which is completely effective both as an utterly entertaining joyride and as a strikingly impressive piece of filmmaking .
the film follows a soft - spoken young man , eddie adams ( mark wahlberg ) from torrance , through his induction into the erotic picture business to stardom , and later , to a harrowingly precipitous drop .
as boogie nights opens , he 's toiling as a dishwasher in a trendy san fernando valley nightclub , and living at home under the thumb of a tyrannical mother who denigrates him at every opportunity .
recruited by fatherly jack horner ( a rejuvenated burt reynolds ) , a successful porn filmmaker , eddie abandons his old life in favour of a new one as dirk diggler , pornstar .
wholeheartedly embraced by jack 's troupe , including the maternal amber waves ( julianne moore ) , reed rothchild ( john c . reilly ) , buck swope ( don cheadle ) , rollergirl ( heather graham ) , dirk and his " one special thing " are quickly propelled to the top of his field , fulfilling his mantra of being a " big bright shining star " .
his lack of discipline , however , incites a chain of circumstances which sees dirk and his friends unravel as a new decade is ushered in .
the element of boogie nights which literally commands attention is the bravura direction by mr .
anderson , whose fascination and prowess with the camera is obvious .
from the terrific tracking shot throughout a nightclub which opens the film and introduces the players through to the showy sequence in the camera follows a female partygoer diving into a pool , mr .
anderson 's accomplished command of the camera is without question .
while novice directors often demonstrate an unfortunate lack of restraint in terms of flamboyant camerawork which ultimately proves to be aggravating , impertinent and self - congratulatory ( case in point : marc rocco 's unforgettable perpetual - motion helming of murder in the first ) , in boogie nights every zoom or pan by mr .
anderson , be it slow and deliberate or energetically sharp , is purposeful and potent .
it 's a rarity and a delight to discover such a confidently assured work so early in a filmmaker 's career -- boogie nights is only his second feature film , following up his debut feature from earlier this year ,
hard eight -- and
although it 's somewhat derivative ( his storytelling style is reminiscent of robert altman , while in terms of visuals he 's clearly influenced by martin scorsese ) , at least he 's borrowing from some of the best , and it 's entirely effective within the context of this film .
while boogie nights is astonishingly polished from a technical perspective , in terms of sheer entertainment value it 's also rollicking good fun , with a wickedly deadpan sense of humour .
the film perfectly captures the essence of the disco period in terms of music , clothes , hairstyles , dance , idioms , and culture , aided immeasurably by impeccable production design by bob ziembicki and costume design by mark bridges , and boogie nights convincingly catapults the audience back to this recent , pre - aids - scare period in american history where uninhibited , free - wheeling lifestyles abounded .
while much of the film 's humour pertains to the characters ' obliviousness of now - outdated aspects of their lives then prevalent in society -- a prime example is part - time salesman buck swope 's demo of a stereo system with an eight - track tape , and inviting a prospective customer to get ' freaky deaky ' with the music -- it 's elicited with an undercurrent not of ridicule , but of wistful reminiscence , and some the throwback elements in the film are strangely wondrous .
a giant ensemble disco dance production number in a nightclub is funny , to be sure , but oddly magical , and the sequence which lovingly explores eddie / dirk 's bedroom , completely adorned with posters and elements of iconic 1970s figures ( farrah fawcett , cheryl tiegs , bruce lee ) is breathtaking .
ably supported by a well - selected collection of period music ( all of which purportedly came straight from mr .
anderson 's personal collection )
, there 's a clear affection for the era in boogie nights .
it 's the period aspect and the playfully comic nostaligism of boogie nights which has been played up in its marketing campaign in deference of the pornography element of the storyline ; the film 's promotional trailer markedly avoids any explicit reference to the adult film industry which unites its characters .
after the debacle with 1996 's milos forman film , the people vs .
larry flynt , another finely - crafted work which was knocked off the market prematurely due to controversy regarding its pornography - related storyline , the new line marketing team faced a unique challenge with boogie nights in terms of attempting to deemphasize the relatively risque erotic picture element of the story in order to increase salability to the general public .
however , while boogie nights delves into the world of the adult film industry of two decades ago , it 's hardly a lurid or seamy film -- given the subject matter , there 's very little nudity , and virtually none of it can be construed as gratuitous -- and boogie nights smartly depicts
erotic filmmaking not as a hotbed of carnality , but simply as a business .
the glimpses on the sets of jack horner 's shoots reveal that while the films he makes are intended to titillate , there 's a candid matter - of - factness in terms of sex ; his cast and crew are professionals who are merely doing a job , and it 's refreshing that the obvious cliches of depravity and sinful lechery often linked to dismissive portraits of adult filmmaking , such as coercion or debauchery , are avoided .
if anything , boogie nights is more interested in the process of adult filmmaking than the adult films themselves .
jack horner 's dream is an honourable one -- he genuinely aspires to make a great film -- and to some degree boogie nights is reminiscent of ed wood ( albeit lacking a certain wistful innocence ) .
in both films , the world of quickie low - budget filmmaking is explored , and both jack horner and the version of ed wood by tim burton , scott alexander , and larry karaszewski share similar mindsets -- jack 's retort of " there are shadows in light , baby " to his cinematographer 's complaint about poor set lighting echoes back to ed
wood 's
" it 's not about the little details , it 's about the big picture !
" rant when it is pointed out that his graveyard set for plan 9 from outer space appears patently false .
in boogie nights and ed wood , the aspirations of the respective filmmakers ' prove to be bemusing , not in their intentions -- there 's nothing inherently silly in the goal of making an ' artistic ' erotic picture -- but in the degree that they miss the mark .
much like the humour lacing ed wood , the laughs involving jack horner are double - edged ; after viewing a hilarious excerpt from one of his latest films which hybridizes the james bond and porn genres , when jack breathes " this is the best work i 've ever done " , it 's genuinely funny , but given his utter sincerity , also possesses a tinge of sadness .
mr .
anderson is at this point clearly a greater talent as a director than a screenwriter .
while boogie nights shows great inventiveness in staging , there really is n't any clever dialogue in the film , though a valid point certainly can be made that none of the film 's characters particularly lend themselves to thoughtful verbal exchanges ; when one considers that the film 's * protagonist * literally does n't say a single insightful thing throughout the entire 152 minute running time , it 's no wonder why the playfully inane " how much can you bench ?
" banter between dirk and reed constitutes one of the film 's finest exchanges .
and while mr .
anderson creates a rich collection of fascinating characters
, it 's problematic that some of the the threads given to the film 's characters are simply stale material -- julianne moore 's child custody battle is fairly cliched stuff , better suited for a less risque and uninspired tv - movie version of her character 's story , and far less interesting than the thread dealing with her woefully hackneyed filmmaking ambitions .
still , even if he does n't always know what to do with his characters , mr .
anderson most definitely captures their essences , and his resolutely nonjudgemental affection for them is infectious -- misguided , even aimless , hopelessly naive , self - destructive , insufferable : i loved them just the same .
in any case , it 's hard to pick nits with a screenplay which contains one of the most audacious and inspired ( and ultimately best - executed ) scenes of the year :
a scene where dirk diggler and reed rothchild are dragged along by their loose - cannon compadre to the home of drug baron rahad jackson ( a mesmerizing alfred molina in an unforgettable performance , even if it 's a small one ) in a suicidal drug deal scam , only to find that the millionaire is a crazed eccentric ( the part where he stops the deal to listen to the crescendo of night ranger 's " sister christian " on his stereo system is sheer brilliance ) flanked by an armed bodyguard .
if this scene already was n't tense enough with these elements , mr .
anderson introduces a chinese boy that wanders through the scene , who for no discernable reason is tossing firecrackers around the room , pushing the scene to a new , surreal level of delightful giddiness .
there are some other interesting touches in boogie nights .
mr .
anderson recycles the use of long methodical chimes on the soundtrack from hard eight ; here , it accompanies the violent intercut sequences which depict the prostration of various characters to frightening effect .
similarly , a painful scene where crew member scotty j ( philip seymour hoffman ) breaks down in tears in the driver 's seat , sobbing " i 'm so stupid " after being rebuffed by dirk after an awkward but heartfelt advance is strikingly played out exactly as a later scene with dirk in the driver 's seat after a particularly tumultuous and traumatic evening .
boogie nights is exceedingly well cast , and each of the actors rise to the occasion ; the ensemble cast is uniformly good .
while most of the acting accolades will no doubt go to mr .
wahlberg ( fulfilling upon the sparks of promise he demonstrated in some of his earlier films ) and mr .
reynolds ( terrific as the father figure and stable anchor of the film , ringing true in every respect ) , a handful of other performances
which might otherwise be overlooked deem mention .
mr .
reilly demonstrates here , as he did for brief glimpses in ulu grosbard 's georgia , a genuine aptitude for comedy -- many of his scenes in boogie nights are among the very funniest in the film .
i 'm not sure how much of his performance as reed was scripted and how much was done on the spot , but he plays the quintessential second banana character to a tee .
mr .
reilly is the best part of the big disco dance production number , and
it 's wickedly funny to watch his reed join in with dirk after the fact in threatening the new stud on the block during a macho altercation .
worth the price of admission alone is the glimpse of him getting down in the recording studio while the dirk character is laying down a numbingly bad ( and dead - on period ; it sure sounds like bad early 1980s to me ) demo track
" you got the touch " in a vain attempt at a musical career .
mr .
reilly plays his vacant character with utter conviction which is convincing and effective .
ms .
graham , with her long dirty blonde hair , innocent demeanour , and huge hazel eyes , looks like a disney animated heroine come to life -- or in this case , a disney animated heroine who came to life , made a wrong turn , and ended up on the new line lot in a film focused on the late 70s / early 80s adult film industry .
consequently , it 's a bit incongruous to see this cheery sweet - faced starlet whizzing about the set on her roller skates , but in a scene where she 's lounging in a limousine prowling the streets , garish red lipstick messily smeared on , giving the camera a hilariously pouty come - hither look , all one can do is gulp .
her role in the film sadly needs more fleshing out ( err -- in a figurative sense ) -- she 's essentially a glorified extra -- but she does score impressively in her key scene which is unnerving in its sheer primal ferocity .
( if only mr .
anderson had filmed the scene so that we could actually see the expression of rage and anguish on her face , though ! ) and a cautionary tale for the strict and prudish : as a teen , ms .
graham 's parents forbade her to take a part in the twisted cult classic heathers ; since then , her most notable roles have been as a junkie ( gus van sant 's drugstore cowboy ) and now a porn starlet .
draw your own conclusions .
perhaps the most quietly touching performance in boogie nights is that of mr .
cheadle , who lends dignity to his role as a character in search of his identity , and whose quest is comically manifested by a series of changes in his sense of fashion .
his relationship with his cheerfully supportive new wife jessie st .
vincent ( an interesting melora walters ) is wholly compelling has genuine sweetness , and although his general longing for acceptance from others is perceptible , it 's no more so than in the bank scene where his loan application to open a stereo store is rejected due to his background in the porn industry .
while the scenario is familiar , the wounded look in cheadle 's eyes makes the scene unforgettable .
luis guzman 's most famous work is possibly in brian de palma 's carlito 's way , and here he plays a variation on the same character : maurice t .
rodriguez is a hapless but good - natured nightclub owner who 's a hanger - on to jack 's group , ingratiating himself into the clique and constantly hounding jack , with little disguise made of his desperation , for a part in one of his erotic pictures .
jack 's eventual acquiescence to maurice 's request leads to one of boogie nights ' biggest comic payoffs .
boogie nights is a stunning achievement due to the virtuoso direction by mr .
anderson , who immediately asserts his presence in the film industry as a presence of note with this work .
striking a fine balance between humour and drama , and exceptionally well - crafted , there 's no doubt that boogie nights is among the very best films of the year .

A: P
****
Q: fritz lang 's first american film since leaving nazi germany , is an eye - opener about a lynch mob in a small town .
joe wilson ( spencer tracy ) is a regular joe , a hard - working stiff , a decent guy , who is living with his two brothers , tom ( walcott ) and charlie ( albertson ) , in chicago .
he is engaged to katherine grant ( sylvia sidney ) , but ca n't save up enough money to marry her .
she takes the train west for a better paying job as a teacher .
before she departs , she gives him the wedding ring her father gave to her mother , sews up his ripped trench coat , corrects him when he mistakingly says the wrong word for memento , and kisses him goodbye .
a year goes by and joe buys a car and tells katherine that he will meet her to get married in capitol city , that he has quit his job and hopes to open a gas station .
driving through the rural backroads and camping out at night while going to met her , he arrives at a near - by town called strand .
but the deputy sheriff " buggs " meyers ( walter brennan ) comes upon him waving a shotgun and arrests him .
he accuses him of the kidnapping of a little girl .
the sheriff ( ellis ) finds salted peanuts on him just like the kidnapper had in his pocket , he also has a five dollar bill on him that matches one of the numbers of the ransom money , and he fits the general description of the suspect .
locked in jail , he waits for the district attorney to look at his claim of innocence .
in the local bar , the town citizens go into a rage when learning that an arrest has been made in the kidnapping .
fueled by angry talk about getting back at the kidnapper and of having the deputy inadvertently telling them of the ransom money found on the suspect , a mob storms the jail , burns it down and dynamites it when they ca n't get through to the prisoner 's jail cell .
the sheriff called the governor for the national guard , but one of his political advisers countermanded that request , saying it would n't look right for the governor in an election year to call out troops for those he wants to vote for him .
somehow joe escapes , but his dog rainbow dies .
katherine hears what has happened on the radio and rushes to the neighboring town of strand only to see him engulfed by flames in his cell , and becomes convinced that he died .
the next day the newspapers announce that the guilty kidnapper confesses .
joe makes his way back to chicago and tells his brothers , who are startled to see him alive , that he wants revenge .
he thereby supplies his brothers with the names of the 22 leaders in the lynch mob .
an ambitious district attorney ( walter abel ) prosecutes the 22 for murder .
katherine , not knowing he 's alive , remains in a state of shock , but is asked to be a witness that she saw joe burning to death .
the defense claims that it ca n't be a charge of murder without a corpse .
the trial proves to be interesting , as the citizens in this close - knit , respectable community , lie under oath , providing alibis for each other to prove they could n't have been at the jail .
the sheriff also lies , saying he ca n't identify anyone in the mob .
but proof comes by way of a newsreel cameraman who caught the whole incident on film .
as for proof of the corpse , an anonymous letter is addressed to the judge enclosed with the wedding ring katherine gave joe .
in the note , memento is misspelled , which makes katherine realize that joe is alive .
when the sentence is announced , 20 of the accused are found guilty of murder , but joe marches into the courtroom and gives a pious speech about what happened .
katherine forgives him , and this very strong film ends on a weaker note than i think it should have .
but do n't blame lang for all the changes in the film , of trying to take the town off the hook by introducing this wild revenge motive .
mgm could n't bear to have it made the way lang wanted it , that is , by having tracy die in the lynching .
instead they wanted to stop short of condemning so many small american towns where lynchings actually do occur , and they thereby meddled throughout the entire script .
to lang 's credit , even if this film failed to be a masterpiece because of the interference , it still did not let the good citizens off the moral hook .
his portrayal of the attempted lynching was powerfully done and was not compromised .
you could n't help get the feeling that the citizens did n't care that much that they almost lynched an innocent man , but cared more about protecting the reputation of their town and would do anything to keep their 22 vigilantes from going to jail , even perjuring themselves .
their reaction to seeing joe alive was satisfying only in that it meant they were n't going to be convicted .
lang by no means implies that the town has learned its lesson from this incident .
he does imply that a dark side to joe wilson has been exposed , and the innocent , jovial good - guy , seen in the beginning of the film , has been largely altered forever by this traumatic experience .

A: P
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Q: wyatt earp details thirty - five years in the life of same from around 1865 to 1900 .
after seeing the movie speed twice recently , i kept thinking that i was seeing wyatt 's life pass before my eyes in real time .
this movie was boring , slow , boring , and slow .
there were a few scenes that tried to be great scenes that tried too hard and just fell flat .
the script happily woman - bashes but also tries to sound like an 80s movie .
they can not have it both ways .
"
i now pronounce you husband and wife .
" sure , they said that in the 1800s .
" entrepreneur .
" sure .
every bit of male - ego - stroking dialogue that wyatt 's third wife speaks to him made me sick to listen to it .
"
oh , the script was written by two men ?
" " no kidding !
"
the movie is torture to sit through .
the scenery is boring .
the fades were either awkward or cliche or to self important .
can you say poor editing
? everyone looks ugly in this movie .
when you shoot people from under their chins , they look like they have double chins .
kevin costner has never looked worse .
he should sue .
he looks like he gained the 43 pounds that dennis quaid lost .
dennis quaid is marvelous . if you have to see this movie just for his performance , go into the theatre at the movie 's halfway mark .
doc holliday ( quaid 's character ) shows up at about the 90-minute mark .
gene hackman is very good .
is he in the credits ?
i do n't remember seeing his name .
mare winningham makes the best of a small role as wyatt 's second wife .
annabeth gish is good as wyatt 's first wife .
i though that jamie gertz played wyatt 's third wife , but i later heard that her name is joanna going .
she looks great but
her dialogue sucks .
she also seems way to young for costner .
costner seems way to old for 90 % of this movie .
in his first scene he is supposed to be about 19 years old .
yeah , right .
catherine o'hara and jobeth williams are always good and totally wasted here .
this is the worst movie that i have seen in years .
the last action hero was better that this .
go see maverick if you want to see a western .
bullets for dennis quaid 's performance only .

A:
N
****