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

Example Input: godzilla is the ultimate culmination of the " who cares about plot " summer movie .
a loose remake of the 1954 " classic " japanese monster movie , godzilla , king of the monsters ( which is itself pretty thin in the story department ) , roland emmerich and dean devlin 's big - budget lizard - stomps - manhattan disaster flick has been written with the brain dead in mind .
the script is n't just " dumbed down , " it 's lobotomized .
godzilla lives and dies on special effects alone .
presumably , the primary target group for this film is teenage boys , the demographic most likely to shell out $ 7 repeatedly to see the same images of monster - instigated carnage .
that 's not to say that females and other age groups are immune to the special effects seduction ; they 're just not as readily susceptible .
this is the third straight movie in a row where emmerich and devlin have demonstrated that a mastery of computer - generated visuals is far more important for making money than the ability to write and direct for actors .
stargate was a financial success .
independence day was a runaway hit .
and , with godzilla already drowning in hype and merchandising tie - ins before it even opens , it 's virtually guaranteed at least $ 100 million .
nice numbers for a film that could have been penned by a not - too - precocious grade school kid .
godzilla is n't completely without merit , although it is close .
there 's a certain visceral thrill inherent in watching the giant lizard rip his way through manhattan ,
but it wears off quickly .
frankly
, while the special effects are competent , they 're not all that stunning .
there 's nothing new here
; it 's jurassic park meets aliens , with a little independence day thrown in for bad measure .
maybe it will require george lucas and his new star wars movie to take computer - generated visuals to the next level .
godzilla never really pushes the envelope , preferring to remain within a comfort zone .
the imagination of monster movies like king kong has been replaced by a crass , formulaic approach which disallows creativity .
( how disturbing is it to know that godzilla has been chosen to close the 51st cannes film festival ? ) worst of all , godzilla is n't even exciting .
with the possible exception of a mildly enjoyable car chase near the end , there is n't a sequence in this film that raises the pulse .
even the scenes with dozens of aircraft attacking the monster are so devoid of tension and suspense that they are yawn - provoking .
independence day may have been dumb , but it was full of " adrenaline moments " capable of getting the audience involved in the action .
in this aspect of its production , as in so many others , godzilla is lacking .
actually , part of the problem is that we 're never sure who we 're supposed to be rooting for : the green monster with an attitude or the paper - thin humans trying to stop him .
the plot , such as it is , can be summed up rather simply .
after sinking a few ships and leaving some footprints on tropical islands , godzilla shows up in the big apple .
he does some of the usual tourist things :
stops by madison square garden , visits the chrysler building , goes on a walk through central park , and takes the subway .
in the process , he knocks over a few buildings and steps on countless cabs , but he never has trouble with traffic jams .
on hand to stop him is an elite u.
s. army unit , led by a slightly less - arrogant - than - usual military man ( kevin dunn ) and a biologist named nick tatopoulos , who has a theory about godzilla .
in his opinion , the big guy is actually a lizard grown to enormous proportions as a result of the radiation given off by french atomic bomb tests in the south pacific .
in nick 's words , godzilla is " a mutated aberration ?
an incipient creature ?
the first of its kind .
"
as luck would have it , nick 's old girlfriend , audrey ( maria pitillo ) , is a reporter based at a new york tv station .
along with her cameraman friend , animal ( hank azaria ) , she decides to follow nick around as he trails godzilla .
then , just when the military has rejected nick 's theory about why godzilla is in new york , a member of the french secret service ( jean reno ) recruits him for a special assignment .
instead of stomping around tokyo this time , godzilla has chosen new york city .
unfortunately , manhattan has been destroyed so many times in recent disaster movies ( independence day , deep impact , armageddon ) that it 's becoming boring .
the whole tradition of monsters roaming around the city started with king kong , but the big ape was only about 30 feet tall .
he could climb the empire state building .
at ten times that height , godzilla would be more likely to knock it over .
godzilla contains a few lame attempts at humor .
there 's an ongoing feud between animal and his wife that plays like sit - com material , an unfunny and repetitive gag about how no one can pronounce nick 's last name properly , and a rather tame attack on film critics roger ebert and gene siskel .
both of the popular personalities have alter egos in the film : " ebert , " the mayor of new york , is played by michael lerner , and " gene " ( lorry goldman ) is his campaign manager .
ebert 's re - election slogan is , not surprisingly , " thumbs up for new york .
" the siskel / ebert stuff is amusing the first time it 's used , but , after a while , it grows tiresome .
and , although the " characters " do n't serve any real purpose , they keep popping up .
godzilla is saddled with an unimpressive cast .
this is largely because emmerich does n't want to risk a human performance upstaging his lizard .
that 's not to say that matthew broderick and jean reno are n't capable of good performances ( both have done their share of solid acting in the past ) , but they are n't a - list names .
then again , considering the quality of the writing , even pacino and deniro would have been hard- pressed to shine .
maria
pitillo ( dear god ) plays the love interest and hank azaria ( great expectations ) is on hand to present what is supposed to be comic relief .
ultimately , it does n't really matter what i ( or any other critic , for that matter ) have to say about the movie .
tristar has assumed that godzilla , like all self - proclaimed summer event motion pictures , is pretty much critic - proof .
it may also be word - of - mouth - proof .
those who want to see the movie will see it no matter what i write or their friends say .
so , when i go on record to assert that godzilla is one of the most idiotic blockbuster movies of all time , it 's like spitting into the wind .
emmerich and devlin are master illusionists , waving their wands and mesmerizing audiences with their smoke and mirrors .
it 's probably too much to hope that some day , movie - goers will wake up and realize that they 've been had .
Example Output: N

Example Input: cradle will rock is the latest effort from director / actor tim robbins .
while he may have had an oscar worthy film back in 1995 ( dead man walking ) ,
he gets a little overconfident and sloppy here .
the story is confusing , and filled with many subplots , so i 'll try my best and explain it as simply as possible .
the film is based on a " mostly " true story about a federal theater in the 1930s , that produced a play ( the cradle will rock ) that apparently was offensive to some , so the government shuts it down .
it 's during the time of the depression , and all this theater wants to do is entertain and cheer up those who do not have jobs , or are poor .
between this conflict lies what seems like 10 subplots , about those who work in theater , or those associated .
also along the way are some other messages mashed together to create an even more overwhelming experience .
tim robbin 's just keeps piling on political views , and characters , that we just give up on the film , or in some cases walk out .
for robbin 's it may be a nice achievement , but to me it seemed more like a friendly get together with slightly more sophisticated dialogue , and fancy outfits .
i thought the main reason for seeing the film would be for the outstanding cast ,
unfortunately are all uninteresting , except for a few .
let me recap what each important character does , so please bear with me
( it 's the least you can do , especially if you were considering seeing this ) .
i 'll begin with those involved with the play .
there 's orson welles ( angus macfadyen ) who of course is the director of the play , the producer john houseman ( cary elwes ) , marc blitzstein ( hank azaria ) the writer of the play , emily watson , a woman who gets her break by playing the main part in cradle will rock .
outside the play there 's the : ventriloquist ( bill murray ) who wants a relationship with a federal theater clerk ( joan cusack ) , another subplot involving a painter diego rivera ( ruben blades ) who 's unhappy that his painting is too be destroyed by nelson rockefeller because he feels it to be an outrage ( john cusack ) .
there 's a few other actresses and actors who have their own stories ( susan sarandon , philip baker hall too name a few ) but those that i mentioned , were the most significant to the story .
anyway , most of these talented hollywood stars were completely wasted , except for emily watson , who does another great job , and one of my personal favorite actors john cusack , who always delivers through thick and thin .
now although most of the film was weak to say the least , there were some nice moments and some involving subjects , but all this is overblown
.
sure the free speech segment was a nice feature , but not when it becomes repetitive .
the whole film is like this , and it 's basically nothing but a headache
.
on the brighter side , tim robbin 's direction was masterful .
his camera direction seemed reminiscent to the works of paul thomas anderson 's latest magnolia , only smoother in my opinion , but even that ca n't make a movie that much better .
although it has it 's moments ( not many of them , but they 're there ) , cradle will rock stays true to it 's title , because the cradle rocked too far and tipped over .
Example Output: N

Example Input: john von neumann , progenitor of the computer age and critically important mathematician on the manhattan project , pointed out long ago that there is a great way to explore the cosmos , even without recourse to faster - than light travel .
you send out self - replicating robot ships which explore and radio back information .
it may take decades , centuries , or millennia , but it can be done with achievable technology , and does n't require a magical faster - than - light drive . in the fifties , british astronomer fred hoyle improved on this plan by suggesting that it would be better to radio plans for a complex computer and a program for it ; any civilization capable of receiving the transmission could build the computer , which would then engage in a real - time dialog with the aliens , exchanging information and technologies , and hopefully arranging to send back what it had learned .
about thirty - five years ago , the bbc contracted with astronomer / writer fred hoyle and writer frank elliot to create the scripts for a mini - series called a for andromeda .
afa concerned the reception of a hoyle transmission , the construction of a huge computer , the computer 's analysis of life on earth , and its creation of an apparently human intermediary to facilitate communication .
she was played with ethereally inhuman perfection by the then - unknown julie christie .
audience response was so strong that the bbc contracted for a sequel , andromeda breakthrough , which played to equally high ratings .
dennis feldman , whose previous credits include the golden child , has never been noted for coherent , well - structured movie scripts ; they start out great , and then disintegrate into a morass of chase and action , mitigated only by the presence of the obligatory beautiful girl .
feldman writes good scenes , but has no idea how to tell a story or write a movie , even with a previous version to use as a model .
now , in species , we have a mundane retread of the andromeda plotline , derailed by a preoccupation with removing the clothes from the leading lady and further ruined by a mediocre attempt to emulate several recent horror films in terms of splatter , gore , and chases .
species features ben kingsley , who is completely wasted in a badly - written portrayal of a feebly amoral scientist .
forest whitaker and alfred molina are also served poorly by the script .
the species story is relatively simple ; we have been radioing information about ourselves and our dna out into space since 1971 , and have been receiving answers for two years .
( note that , in the 1970 's , we really did n't know diddly about the human genome structure , and were hardly in a position to radio out a set of blueprints for human beings .
even today , all we can do is give information about dna and how it works , not a copy of human dna , because we do n't have it analyzed yet . )
the answers we get from the unknown alien source are plans for recreating a member of the alien race , and doctor xavier finch , played by ben kingsley , is placed in charge of the attempt .
the script begins to go off the deep end at this point , when the result is a beautiful young girl who can shape - shift into any of several ugly alien life forms .
the first half of the film has something to offer , as " sil , " the alien girl , struggles with her multi - form existence , changing from beauty to lizard to giant cockroach and back again , all while trying to understand her own place in the cosmos .
she seems oddly knowledgeable about human society , with glaring gaps where her social skills should be .
her instincts are to mate and procreate , and some of the best scenes deal with her attempts in this area .
escaping from her birth laboratory in utah , sil is pursued by a team of drafted civilians with orders to find her and kill her .
she goes on an eating binge , spins herself a cocoon , and emerges as an adult , played by natasha henstridge , who goes a long way toward re - creating the sheerly inhuman beauty julie christie achieved in 1960 .
the pursuers : michael madsen is an assassin / exterminator ; forrest whitaker is a convenient empath / psychic , just as though the u . s .
government actually had such people on call .
neither is able to do much with the writing and directing provided .
whitaker 's role seems to be aimed at making whitaker a male copy of star trek : the next generation 's " counselor cleavage .
"
the other members of the strike team are played by marg helgenberger and alfred molina .
kingsley and whitaker are both consummate professionals , too good to not work to the best of their abilities ; but the performances donaldson elicited from the rest of the cast are disappointing and bland , and it is apparent that the direction was a bit weak .
h .
r .
giger 's design for the main form of the alien creature is actually a bit boring when we finally get to see it , although previous digital effects were done quite smoothly .
the main fault of species is lack of originality ; it starts out with a wonderful , albeit borrowed , premise , and then does n't live up to it .
all we get are chase scenes and a few nice sex scenes , with a few monsters tossed in .
there is no buildup of tension and suspense , no climax worthy of the name ; species is just a sequence of " scare " scenes stuck together .
the movie is carried by its chase and sex scenes , but not rescued by them .
on the other hand , as an exercise in sci - fi action/ adventure , it certainly beats the ichor out of judge dredd .
species earns an extra rating point or two for having ben kingsley and natasha henstridge on board , but by and large , it 's fun only for those of us who really like this sort of thing .
my personal rating is three stars , but knock one or two of those off if you do n't enjoy pretty unclothed ladies and bloodthirsty alien monsters .
mpaa classification :
r
( violence , gore , nudity , sex , language ) stars : ben kingsley , michael madsen , forest whitaker , alfred molina , marg helgenberger , natasha henstridge directed by : roger donaldson produced by : frank mancuso jr .
and dennis feldman typed by :
dennis feldman cinematography : andrzej bartkowiak music : christopher young run time : 108 minutes aspect ratio : 2 .
35 : 1 from mgm , opens 7 july 1995
Example Output:
P