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

Ex Input:
anastasia contains something that has been lacking from all of the recent disney releases . ..
( especially hercules ) .
.. emotion .
all the wacky characters voiced by celebrities and fantastically animated adventure sequences are n't going to hold anyone 's interest unless there is an emotional core to hold it all together .
not since disney 's beauty & the beast has there been such a compelling animated film with interesting characters and drama that works .
the story of the romanov family , the rulers of russia , and their downfall begins the film .
anastasia , one of the daughters , narrowly escapes the mad monk rasputin ( voiced by christopher lloyd ) with her grandmother ( voiced by angela landsbury ) .
but anastasia gets lost , and grows up with no memory of her royal origins .
the grandmother lives in paris , hoping to someday find her beloved anastasia , the only member of the family to survive the russian revolution .
a young woman named anya ( voiced by meg ryan ) runs across dimitri ( john cusack ) and vlad ( kelsey grammar ) , who are trying to put together a scheme to create an anastasia to fool the grandmother and get the reward money .
they pick anya to pose as their princes , and of course , it is soon revealed that anya is in fact the lost anastasia .
dimitri realizes that he can never win her love as he is a commoner , and meanwhile , rasputin is not dead , and plots his revenge against the last romanov .
the plot is actually quite well structured .
there are a lot of complexities that may have to be explained to the kids later , but it moves along fast enough that they 'll never have time to be bored .
what this really means is that the adults wo n't be bored by it either .
there is a great deal of banter between anya and dimitri that is very funny , and their relationship develops quite naturally as the film progresses .
there is , of course , lots of comedy for the kids , including rasputin 's pet bat , bartok ( hank azaria ) , who is easily the funniest thing in the film . however , the comical scenes never distract from the drama , but are worked into the plot almost seamlessly .
the animation is gorgeous - the characters seem to come to life through the talented animators .
not since beauty & the beast have animated characters had so much life to them .
even without the voices , they act .
the musical number in paris is a show - stopper , with some of the backgrounds rendered in an impressionist painting style .
as with all recent animated features , there are songs , however ,
these songs do more than just provide fodder for top-40 singers to get on the radio ( although there are three of them during the end credits ) .
the songs are all very catchy , and advance the plot , instead of just being showpieces
( except for the paris number , but that 's so much fun , it 's okay .
.. ) . i ca n't reccomend anastasia highly enough .
it 's a wonderful film that ranks right up there with other animated classics .
kids and adults alike will enjoy it , and it 's also nice to have a quality animated feature film from another studio besides disney .

Ex Output:
P


Ex Input:
best remembered for his understated performance as dr .
hannibal lecter in michael mann 's forensics thriller , manhunter , scottish character actor brian cox brings something special to every movie he works on .
usually playing a bit role in some studio schlock ( he dies halfway through the long kiss goodnight ) , he 's only occasionally given something meaty and substantial to do .
if you want to see some brilliant acting , check out his work as a dogged police inspector opposite frances mcdormand in ken loach 's hidden agenda .
cox plays the role of big john harrigan in the disturbing new indie flick l .
i .
e . , which lot 47 picked up at sundance when other distributors were scared to budge .
big john feels the love that dares not speak its name , but he expresses it through seeking out adolescents and bringing them back to his pad .
what bothered some audience members was the presentation of big john in an oddly empathetic light .
he 's an even - tempered , funny , robust old man who actually listens to the kids ' problems ( as opposed to their parents and friends , both caught up in the high - wire act of their own confused lives . )
he 'll have sex - for - pay with them only after an elaborate courtship , charming them with temptations from the grown - up world .
l .
i .
e . stands for long island expressway , which slices through the strip malls and middle - class homes of suburbia .
filmmaker michael cuesta uses it as a ( pretty transparent ) metaphor of dangerous escape for his 15-year old protagonist , howie ( paul franklin dano ) .
in his opening voice - over , howie reveals a morbid preoccupation with death on the road , citing the l .
i .
e .
highway deaths of filmmaker alan
j .
pakula , songwriter harry chapin , and his own mother on exit 52 .
he 's both fascinated and disturbed by the l .
i .
e . , and those feelings are projected onto big john ( who follows howie around in his bright red car , but never makes a move to force the boy to do something he does n't want to do .
this makes him much more complex than the usual child molesters seen in movies -- he 's a beast , but ashamed of it . )
l .
i .
e . would have worked best as a half - hour short film about howie 's ill - advised foray into big john 's haven .
there is unnecessary padding with howie 's miserable dad ( bruce altman ) in the hot seat for a white - collar crime , degenerate youngsters who get their kicks from robbing middle - class houses , and some homoerotic shenanigans with wise - ass gary terrio ( billy kay ) , a handsome artful dodger . rather than add to the themes of suburban ennui ( not that we needed another movie on that subject ) , these awkward subplots pad out the running time to adequate feature length .
concurrently , the relationship between howie and big john is evenly paced and exceptionally well acted .
cox , sporting a baseball cap and a faded marine tattoo , is all bluff and bluster .
dano is quiet and at first glance seems so withdrawn as to be transparent .
we 're so used to child actors whose dramatic choices are broad and obvious ( calling haley joel ! ) , it 's surprising to see one who actually listens throughout any given scene .
the restraint is admirable .
but l . i .
e . 's
screenplay does n't always give them the best material .
when howie reads big john a walt whitman poem , the moment feels a bit too precious .
director michael cuesta lingers on an ecstatic reaction shot of big john , who may as well be hearing glenn gould performing bach 's goldberg variations .
it 's too much .
there are also some obvious dramatic contrivances involving big john 's other boy toy ( walter masterson ) , jealous over the newbie .
this plot thread predictably leads to violence .
not content to be a haunting , observational portrait of teen alienation in a royally screwed up world ( like terry zwigoff 's superb ghost world ) , cuesta lacks the confidence in his own work to end on an ambivalent note .
it 's typical of unimaginative cinema to wrap things up with a bullet , sparing the writers from actually having to come up with a complex , philosophical note .
in this regard
, l . i .
e .
( and countless other indie films ) share something in common with blockbuster action films : problems are solved when the obstacle is removed .
how often does real life work this way ? to extend the question : if a movie is striving for realism , do dramatic contrivances destroy the illusion ?

Ex Output:
N


Ex Input:
robin williams has the rarest of gifts : the ability to rise above the most inept material and suffuse it with his irreverent style .
overwhelmingly , his worst films are pleasantly diverting at worst and enjoyable at best ( with the notable exception of flubber ) .
so when i , the one person who has refused to abandon him despite patch adams , tell you that not even williams can save his latest project , you know
it 's in trouble .
jakob the liar is a confused , muddled little movie ; a generically " uplifting " film with a fundamental contradiction :
the message it delivers is depressing as opposed to inspiring and the movie does n't realize it .
williams plays jakob haim , a jew imprisoned in a polish ghetto during world war ii .
one night he wanders outside after curfew and is promptly sent to the office of a high - ranking german officer for his punishment .
jakob gets off easy and he gets to hear approximately 30 seconds of a radio broadcast .
the announcement ( in english , but punctuated by a triumphant " heil hitler ! " ) is that russian troops are only miles away from jakob 's ghetto .
liberation !
he thinks .
the next day , jakob tells the news to his closest friend , a volatile prize fighter named misha ( liev schreiber ) , who despite being sworn to secrecy passes the message along .
soon , it is a common assumption in the ghetto that jakob has a radio hidden in his home -- a crime punishable by death .
this is absurdly false , but the more jakob tells the people of the ghetto this , the more convinced they become that he is abreast of the latest developments in the war that is to decide their fate .
the danger , of course , is that the germans allegedly have informants throughout the ghetto , and rumors about the radio can get out and put jakob in great danger .
in a curiously irrelevant subplot , jakob finds a 11-year old girl who has separated from her parents and decides to hide her in his small home .
apparently he is afraid that she will be discovered , and goes to great length to make sure of that -- just why the idea frightens him is never made clear .
he and the girl build an uninvolving , generic relationship that never goes anywhere and is as irrelevant at the end as it was in the beginning .
the moral of the story is that hope is the best medicine .
but jakob the liar forgets that the hope that jakob brings to his ghetto is false .
such hope inevitably leads to expectations of its realization and when those expectations are n't met , the results are far worse than if there was no hope .
that 's the film 's biggest detriment : it is based on a false assumption and thus comes off as painfully false .
it 's never moving because it does n't give us anything to be moved by .
jakob the liar
fails to tug any heartstrings which destroys its purpose for existing .
robin williams does n't inject the film with life , as a matter of fact , he seems a little out of it , as if crippled by his fake accent .
he is stragely unenthusiastic ; his character is one who spreads hope but his performance is lifeless , hopeless .
not since good will hunting
has he abandoned his signature style to this extent ; this is n't the robin williams we know and love .
in good will hunting he became a serious actor and won an oscar for it . here , he is more of a wannabe serious actor ; an impostor .
jakob the liar will be compared with last year 's life is beautiful because it is being marketed as a " holocaust comedy " .
it 's not a comedy .
it tries , sometimes , but it rarely works
.
is it a melodrama ? a war movie ? a character study ?
no , no ,
and no .
jakob the liar is the kind of movie that ca n't be placed into a category ; not because it covers so many different genres but because it fails at just about every one it attempts .

Ex Output:

N