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

Q: with his last two films - shine and snow falling on cedars - australian director scott hicks has proven his cinematic flashbacks to be some of the best out there , and his latest , hearts in atlantis , is no different .
its structure - beginning and ending in present day with one long flashback in the middle - is similar to the green mile , which is a bit ironic considering both were based on stephen king books .
the parallels do n't end there , either .
atlantis was adapted by william goldman , who had previously penned the big - screen version of misery and is in the process of working on the script for king 's dreamcatcher .
even the film 's content is a bit reminiscent of mile .
in fact , it 's the perfect blend of the feel - good ' 60s nostalgia of stand by me ( also by king ) and mystical power hokum of mile .
king 's atlantis is a book comprised of five related short stories , but the main focus here is on the first ( and longest ) tale , called low men in yellow coats ( the film 's title comes from the second chapter ) .
it 's set in 1960 harwich , connecticut , where 11-year - old bobby garfield ( anton yelchin )
lives in a boarding house run by his cold , self - centered mother elizabeth ( hope davis , joe gould 's secret ) , who seems to care more about her wardrobe than her son .
bobby spends his time with his two closest friends , john sullivan ( will rothhaar ) and tomboy carol gerber ( mika boorem ) , who become something like the kevin , paul and winnie of harwich .
when a new tenant moves into the vacant room , the fatherless bobby finds a male role model in ted brautigan ( anthony hopkins , hannibal ) , a mysterious stranger who is vague enough about his past to make bobby 's mom suspicious enough to at least momentarily turn her head away from the mirror .
ted teaches his young neighbor about the wonders of literature ( after his cheapskate mother gives him a library card for his birthday ) , dispenses prophetic words of wisdom and even pays bobby one dollar a week to read him the local newspaper and keep his eyes peeled for the low men , a group of people chasing ted to exploit his special powers .
i wo n't go into what these powers are , but they 're considerably toned down from the book ( and do n't involve black stuff flying out of ted 's mouth , a la mile ) .
atlantis ' present - day setting which bookends the film is based on the novel 's final chapter , titled heavenly shades of night are falling , and features david morse ( in yet another connection to the green mile ) as a married , middle - aged bobby who learns of the death of both of his childhood friends and returns to the dilapidated boarding house in which he spent his formative years .
atlantis is nowhere near as flashy as hicks ' cedars , which is disappointing but understandable considering the switch from the completely amazing robert richardson to the occasionally amazing piotr sobocinski , the oscar - nominated cinematographer behind krzysztof kieslowski 's red .
the acting is solid from everyone , including hopkins , who never once makes you think of dr .
lecter .
most impressive are youngsters yelchin and boorem , who both had tiny parts in along came a spider .
while i did n't really have much of a problem with goldman 's screenplay , i do need to point out at least one inconsistency .
goldman , for those of you who do n't read premiere , writes what seems like an annual criticism of everybody else 's films , carefully explaining why they all suck , make no sense and insult their audiences , while somehow failing to mention the crap that he 's penned ( like the general 's daughter ) .
it 's mean - spirited but fun to read , mostly on account of nobody else in hollywood having the balls to say anything remotely negative about anybody else in the business ( including michael jackson , o .
j . and robert blake ) .
in atlantis , which is supposed to be told through the eyes of young bobby , one would assume he would have to be in each scene in order to have the memory to which to flash back .
well , he 's not , and it does n't make sense .
1
: 41 - pg-13 for violence and thematic elements

A: P
****
Q: hollywood has really done the whole dracula thing to death ( no pun intended - honest ) .
it 's a shame , too , because the good count was probably the most frightening out the old b - movie monsters .
i mean , come on .
are people really going to get that scared over a big green guy named frankenstein that moves at a speed of five miles per hour ?
hell no .
and not only was the idea of a vampire frightening as hell , but it also carried with it a kind of sensual feeling as well , not commonly associated with horror films .
and not only has the idea been done too many times , but with the possible exception of from dusk ' till dawn , has not been done very well lately , either .
this is precisely why
it was so much fun for me watching the original nosferatu .
i got to go back to the times when making movies ( even horror movies ) was considered an art form , and not just done to make cash like nowadays .
and that is exactly what this film is ; art .
i 've been a horror fan since i was eight years old , and to this day
i have not seen any horror film cover the intellectual ground that this film covers
.
let me backtrack a minute .
when i say " intellectual ground " , i do n't mean that nosferatu tackles philosophical questions or anything like that , i just mean that in order for the film to work the way it was intended to , a little bit of thinking is involved .
with most modern slasher movies like friday the 13th and what - not , you can just simply sit back in your chair and be frightened by the gore that is shown .
those movies could have been made by a fifth grader with a good makeup kit ; movies like this require the viewer to actually pay attention and ponder what is happening on the screen .
you see , this movie has barely any violence in it and even less blood or gore .
this is a thinking man 's slasher flick .
the " nosferatu " of the title is orlock ( max shreck ) , a strange , hermit - like count that , as the film opens , is looking for a new home to buy .
he employs the help of hutter ( gustav von wangenhein ) , a real estate salesman ( or something to that effect ) who has a nice home and even a fiancee named ellen ( greta schroeder ) . upon orders from his boss , hutter treks to the transylvanian mountains to visit orlock 's castle and speak to him about his new home ( which just happens to be right next door to hutter 's ) .
the next morning , he wakes up to find teeth marks on his neck . . .
not really a good sign .
he then discovers through some reading that the count is a " nosferatu " , or vampire , one of the undead that feeds off the blood of living humans .
but by the time he pieces this together , he is too late ; orlock has already embarked to hutter 's hometown via boat .
will hutter reach his destination in time to save his fiancee from the deadly clutches of count orlock ?
the character of orlock is , of course , dracula .
the only only reason his name was changed was because this was an unauthorized account of bram strocker 's novel .
just thought that was an interesting little side note .
. .
probably the only way you will get to see
this fine film is by purchasing a copy of arrow entertainment 's digitally restored cut , now available in stores .
however , this version is quite different than maunau 's original masterpiece .
the movie is now sporting a new soundtrack by band type o - negative and color tinting , much like the 1984 version of lang 's metropolis .
now , i really appreciate what arrow entertainment is trying to do here , bringing a classic like this to the attention of a wider audience that might have otherwise just skipped this one .
but alas
, i like watching movies the way they were originally intended to be seen .
but that 's just my bag
; you may like the newer , more " modern " version better .
either way , i suggest investing your money in a copy .
if you like what they have done with it , pop it in the vcr and enjoy .
if you 're like me , just do what i 'll do during future viewings ; turn the color all the way down on your television , hit mute , turn on some bach or mozart or whatever , dim the lights and prepare to view what is truly one of the greatest films ever made .

A: P
****
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
****