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

[Q]: capsule : earthy , experimental , difficult , shockingly frank ( even for 1997 ! ) , and ultimately refreshing story of a black man on the run from the cops .
the first few minutes of sweet sweetback 's baad asssss song ( yes , i checked --
that 's the correct number of ss )
are without dialogue , just eerie montages of sounds .
a young boy , obviously malnourished , is taken in and fed up by several loving mother - surrogate figures .
then one of them takes the boy to bed for a sexual initation ( underneath the title credits ) that 's far more confrontatory and shocking than any ten basic instincts -- probably because it has the directness and clumsiness of real life , something we 're not used to seeing on screen .
this is one tough movie to swallow , no matter who you are , but that probably reflects more on how pallid and unchallenging movies have gotten lately .
( i suspect the sex scenes in movies like el topo and salo would probably melt the synapses of most modern audiences . )
the plot is simple but not simpleminded .
sweetback , hassled by two white cops who are apparently just looking for an excuse to beat up on a black man , breaks his bonds and runs like hell .
along the way he moves through a good many of the kinds of environments that we are only just now being seen in a more serious light in the movies -- or at all , for that matter : the slums , the missions , the ghetto .
in other , lesser , movies , sweetback would be machine - gunning everything in sight and the end credits would roll over a pile of bodies ; in this one , we get taken on a kind of a tour of the depressing and anarchic world that sweetback takes for granted .
ssbas first appeared in 1971 and was promptly rated x ( " by an all - white jury " , as director melvin van peebles crowed in his legendary ad campaigns ) , and it 's hardly surprising why .
there 's a good deal of sex in the movie , but it 's handled in a way that 's unsettlingly frank -- a frankness that spills over into the rest of the movie .
in one scene , sweetback visits a friend 's house in the hope of getting sanctuary there , and the other man chats him up while on the toilet .
we 're not used to coming this close to people in real life , let alone in the movies -- especially not people who are not made out to be glamorous .
the movie is also full of experimental stylistics that are relatively unused today , but probably because of that seem curiously fresh and new in van peebles ' hands .
one scene , in which a man is interrogated by the cops , is loaded full of menacing energy as they fire off a gun inches from his ears , and suggest his deafness through a cleverly edited soundtrack .
another note : ssbas is not so much anti - white ( that would be too easy ) as anti - authority , and as the movie goes on to demonstrate , authority exists in many forms -- governments , churches , and even the paranoid inside of one 's own mind .
ssbas is ultimately about thirsting for freedom -- and it looks like we could use a little more of that in our movie diet , god knows .
[A]: P


[Q]: gregg araki 's the doom generation was
possibly the very worst film ever made .
so why did i see his latest teen bisexual angst opus ?
first of all , some of the reviews were fairly positive .
also , the cast , consisting of cameos from dozens of washed up
ex
tv stars ( including christopher knight , eve plumb , shannen doherty , and david leisure ) was promising .
last of all , i wanted to give arraki one more chance .
i mean , the guy ca n't be that untalented , can he ?
the answer to that question is three letters long .
nowhere follows the character dark on his wild and odd journey through los angeles .
since arraki does n't know how to make anything coherent , it 's hard to describe the plot .
let 's just say that dark spends the bulk of the movie whining that his girlfriend wo n't make a commitment to him and jealous because she sleeps around with other guys and girls .
the only remotely compelling storyline involves sarah lassez as a teen who has a chance encounter with a famous tv star .
he turns out to be a nice guy who does n't care for fame and wishes he could walk down the street without being mobbed by fans .
this story has a shocking twist and a tragic end that i did not see coming .
it is the first time i ever felt any compassion for a character created by arraki , and this can be attributed to the appealing performance of lassez .
i thought maybe arraki was improving in his craft .
he works better with the camera this time around , especially in the early scenes .
halfway through the film , i did n't necessarily find myself enjoying the film , but it seemed like a considerable improvement on the doom generation .
then as the movie went on , arraki loses all sensibility and introduces us to exploding heads , twisted sex games , and alien abductions .
it 's sad , because he almost actually had some decent material here , but he ruined it with his usual in your face
" i 'm such a renegade maverick filmmaker , look what i can do " attitude .
the performances are generally better than in the doom generation , which is n't saying much .
at least we do n't have to suffer jonathan
" i am the most hideous man in america " schaech .
we are , however treated to another round of james " i 'm more wooden than keanu " duval .
sarah lassez gives the best performance in the film , and kathleen robertson ( formerly of 90210 and now arraki 's wife ) and rachel true are talented actresses caught up in this mess . of the tv star cameos , john ritter is the most interesting as a deranged right wing tv evangelist .
if i prefer nowhere to the doom generation , it is only in the way that i would prefer being assassinated than receive constant physical torture .
maybe greg arraki does n't want you to like his characters .
maybe he wants to laugh and make fun of those of us who try to care about them .
maybe he just wanted to piss me off .
if so , he was successful .
[A]: N


[Q]: allen , star of many a brian depalma movie in the early eighties , has a brief , throwaway part towards the end of " out of sight , " as the maid of a crooked financier .
in keeping with her past performances , allen wears little more than a green velvet victoria 's secret ensemble which begs the question , did they really need a costume designer for this ?
" out of sight " is not likely to secure ms .
allen the kind of plaudits bestowed upon pam grier , who likewise returned from out of obscurity to appear in another recent elmore leonard adaptation , " jackie brown , " but it is intriguing to see her name kicking off the " also starring " credits given her limited screen time .
the real stars of " out of sight " are george clooney ( " batman & robin " by way of " e. r. " ) and jennifer lopez ( " selena " ) , whose winning chemistry , coupled with steven soderbergh 's freeze - frame directorial technique , help the film retain the charismatic charm of leonard 's original work .
with the success of " get shorty " three years ago , filmmakers have realized that adapting an elmore leonard novel can be an easier proposition than trying to dream up a storyline from scratch .
in " out of sight , " clooney stars as jack foley , a career criminal who specializes in unarmed robbery -- he just waltzes into banks and politely makes a withdrawal , claiming that his " partner " ( just another customer it so happens ) will shoot the manager if the teller does n't comply .
for all of jack 's nice - guy charm though , he 's not very lucky .
his latest scam lands him in florida 's glades correctional facility .
federal marshal karen sisco ( lopez ) coincidentally arrives at the prison just as jack and his buddy
( ving rhames , typically appealing ) are breaking out .
there 's a brief struggle and jack bundles himself and karen into the trunk of the getaway car .
it 's in these cramped confines , pressed intimately together , that jack and karen start falling for one another .
the mutual attraction continues as the couple on opposite sides of the law slip in and out of one another 's grasp .
karen follows jack to detroit , where he 's about to pull off another heist , this time a cache of uncut diamonds from incarcerated businessman richard ripley ( played by a toupee - sporting albert brooks , almost unrecognizable in the prison scenes ) .
it 's during this final caper - gone - awry that allen
makes her scant appearance .
clooney 's range as an actor is limited , but he has undeniable charm .
lopez , too , is easy on the eyes , but she demonstrates more depth in her portrayal of karen , a tough yet tender professional .
she dispenses with hit men as easily as she out - maneuvers sleazy pick - up artists in a bar .
especially cute is a sequence in which karen fantasizes about jack in a motel bathtub .
admirably supporting clooney and lopez are don cheadle as fellow felon maurice ' snoopy ' miller , steve zahn as the perennially stoned glenn michaels , and dennis farina as karen 's dad , who affectionately buys her a piece .
add a couple of uncredited cameos from " jackie brown " cast members and " out of sight " proves to be a lot of fun . not as hip and clever as " shorty , " perhaps , or as complex and colorful as " brown ,
" but loads of fun nonetheless .
[A]:
P