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

Ex Input:
the coen brothers are back again , this time with homer 's " odyssey " as the backdrop in their tale of three fugitives from a mississippi chain gang who trek across the south to find a secret treasure in " o brother , where art thou ?
" right for the beginning of " o brother " the coens grab your attention with a chain gang of prison inmates breaking rocks along the road in unison to a work song .
the camera flows around the hard toiling men , giving a visually exciting symmetry to the scene that ends with our three heroes - ulysses everett mcgill ( george clooney ) , delmar ( tim blake nelson ) and pete ( john turturro ) - escaping across a cotton field .
it is the beginning of a journey that takes on different meanings and urgencies to each member of the trio .
a strong suite , as always with the coen brothers , is the depth of character of the folks they create in their films .
their characters are goofy and comical , like nicolas cage in " raising arizona " ; or , dramatic , as albert finney and john turturro in " miller 's crossing " ; and , even a mix of the two with frances mcdormand in " fargo .
" in all cases , and in " o brother , " too , the characters populating their films are three - dimensional people .
ulysses everett is a handsome , hair - obsessed petty criminal with a silver tongue and not a lot in the brains department .
but , he seems like a genius when compared to the simple , sweet delmar and the maladjusted pete , who follow their self appointed leader to a promised treasure of $ 1 . 2 million .
their odyssey takes on the mystical proportions of homer 's original material as they meet all manner of people along the way , including those dangerous sirens who beckon them onto symbolically rocky shoals and a cyclops who beats them and takes all their money .
there is magic , too , when delmar believes that pete was turned into a horny toad by the sirens .
the story meanders through the different vignettes of the boys ' adventures , giving the flick a choppy , episodic feel that disrupts the overall flow .
some of the interludes are an epiphany , though .
the trio becomes a quartet when they pick up guitar - playing tommy johnson ( chris thomas king ) and visit a radio station in the middle of nowhere , run by its blind owner ( stephen root ) .
they become the soggy bottom boys for the sightless radio station man and , without their knowledge , are recorded as they sing the traditional tune , " i am a man of constant sorrow .
"
it is a wonderful moment of moviemaking and gives us , in my mind , the best movie song of the year
.
contrasting this and other wonderful moments
( the sexy seduction by the sirens comes to mind ) are some pretentious bits that detract from the overall quality of " o brother .
" in particular , near the end , is a scene where ulysses , delmar and pete crash a ku klux klan rally to save tommy from being lynched .
the scene is overblown and flashy and reeks of " the wizard of oz .
"
they do n't say " lions and tigers and bears , oh my !
" and there 's no dorothy , but it is the land of oz we 're seeing here .
the highs and lows of the story flow are tempered by fine acting on several levels .
george clooney is funny , charming , a little dumb and one of the handsomest actors in the business today .
he has the charm of a 30 's movie idol and is able to put himself into silly situations with dignity .
ulysses has an ongoing obsession with his hair , risking life and limb to get a particular brand of pomade and a supply of hairnets .
his vanity will come to plague him as it would any mystical hero - wanderer .
while clooney is the name draw for " o brother , " the show stealer is tim blake nelson as delmar .
the heretofore unknown nelson is terrific as the simple convict who , at one point , hears the word of the lord and joins members of a church congregation in their mass baptism .
delmar is saved and dedicates his life to doing good and provides a richness to his simple character that makes him shine .
the taciturn pete , as played by longtime coen collaborator turturro , is the sullen member of the trio and gives them the necessary angst .
all together , the tuneful triumvirate is a mix of the three stooges and the three musketeers as they prove to be buffoons , albeit brave ones .
the colorful supporting cast is rampant with homerian characters to meet and get to know along the way of the boys ' odyssey .
charles durning appears as incumbent governor pappy o'daniel , who keeps crossing paths with them in his bid for re - election .
john goodman is wicked as the one - eyed bible salesman and con artist , big dan teague .
michael badalucco is manic and outrageous as outlaw and bank robber extraordinary
, george " babyface " nelson .
stephen root is amusing as the blind dj , rep'ing one of the many references to the sightless that abound in the film in mystical ways .
holly hunter is wasted in the small role as ulysses ' estranged wife , penny ( and the real reason for this adventure , not secret treasure ) .
techs are , as expected in a coen brothers venture ,
first class .
cinematographer roger deakins , who has worked on five previous coen films , captures the sultry atmosphere of the south .
the photography complements the lush period production and costume provided by dennis gassner and mary zophres , respectively .
once again , roderick jaynes - the alter ego of ethan and joel coen - is on board as editor .
the high points outweigh the low through most of " o brother , where art thou ?
" with particular praise for the wonderful selection of period and traditional music .
i give it a b .

Ex Output:
P


Ex Input:
the happy bastard 's quick movie review me tarzan . . .
you happy viewer .
for a minute there , i thought i was going to be groaning over the release of disney 's latest , another adaptation of a legend from the past .
( remember the pathetic pocahontas ? yikes ! )
but guess what- disney , a company that 's been on a roll lately with animated films
, strikes again with another wonderful tale that pleases the eyes as well as the inner kid in you .
the story is pretty basic- tarzan is left orphaned and a female gorilla who 's lost her young adopts him into her group . as he matures into a much older man , tarzan still wonders just why he 's so much different from the clan , and then arrives a hunter , a professor , and the professor 's lovely daughter , jane- who meets tarzan rather quickly after getting in trouble with a group of feisty babboons .
from there , tarzan faces tough choices-
should he stay with the ones that he grew up with or go join his own kind in england ?
the voicework here is pretty top - level .
tony goldwyn is very convincing as the ape man ; minnie driver adds a delectable touch to the already - beautiful jane ; nigel hawthorne makes for a pretty nasty hunter voice ; rosie o ' donnell keeps the laughs rolling as tarzan 's best ape friend terk ; and wayne " newman " knight has his moments as a panicky elephant .
the movie is superb throughout , mixing a great script with incredible computer - assisted visuals .
when tarzan tree - surfs ( a twist that was added on top of the same ol' vine swinging- and a great one , i might add ) , the camera twists and turns , allowing the trees all around to come to life vividly .
i could n't believe my eyes- disney has come a long way since starting in a ballroom for beauty and the beast .
and the music 's not half bad , either .
fortunately , there 's no ridiculous singing characters here , just a great set of songs by phil collins that perfectly fit the mood .
there 's some great action sequences here as well , including a wonderfully done chase between tarzan , jane , and the aforementioned babboons .
but , of course , it 's not all action-
there 's a message here as well that has to do with family .
this is easily one of disney 's best animated films of the decade
and it 's one i ca n't wait to put in my home library .
. .
that is , if my vcr still works in the year 2000 .

Ex Output:
P


Ex Input:
call 911 for the cliche police if you must , but the eyes are the window to the soul .
the finest actors working in films are those who can command the screen with a gaze : paul newman , ralph fiennes , anthony hopkins , morgan freeman .
you look at these men on screen and you can tell without them saying a word that there is something going on in their minds , that the characters they play are real human beings .
we will never have a chance to discover if tupac shakur could have been a great actor , but he had that unique quality in his eyes .
in gridlock'd , an oddly effective combination of gritty drama and social satire , shakur and his co - star tim roth take sketchy characters and make them exciting to watch through the pure energy of their talent and chemistry .
shakur and roth play ezekiel " spoon " whitmore and alexander " stretch " rome , two detroit buddies who share a spoken word / jazz trio , an apartment and a drug addiction with cookie ( thandie newton ) .
when a new year 's eve party ends with cookie comatose after a drug overdose , spoon and stretch begin to wonder if they are living on borrowed time .
they soon make a new year 's resolution to get into rehab , but that proves to be easier said than done .
as though the temptation to fix were not hindrance enough , spoon and stretch also find their attempts to get clean hitting a road block of bureaucracy , confusion and red tape .
the government might be the least of their obstacles , however , as they find themselves suspects in the murder of a drug dealer , and on the run from a nasty thug ( vondie curtis hall ) .
in order for you to buy into gridlock'd at all , you have to accept it as a surreal odyssey rather than as urban realism ; unless spoon and stretch sleep through an entire day at the hospital after bringing in cookie , they are going to government offices on new year 's day , in which case they should be thankful they get any help at all .
gridlock'd may actually be a response to the fatuous social commentary of another urban odyssey ,
1991 's falling down , which found a besieged middle class white male venting his righteous anger against the system during a trek through inner city los angeles .
in falling down , michael douglas ' d - fens ( the character 's personalized license plate , echoed in gridlock'd by the drug lord d - reper 's plates ) whips out a gun because he ca n't get breakfast at mcdonald 's ; in gridlock'd , spoon and stretch are unarmed against the demands placed on them before they can get into a rehab center .
and where the unhinged d - fens became a heroic surrogate for audiences , writer / director vondie curtis hall refuses to let spoon and stretch off the hook for their own part in the situation .
one bureaucrat responds to a tirade from stretch with the question , " do you expect the world to stop .
. .
just because you picked _ today _ to clean up ?
" the world in gridlock'd is just as frustrating as the world in falling down , but the cathartic moments yield no easy answers this time .
hall has some interesting things to say about what we expect from the system , but perhaps not enough of them .
a significant chunk of gridlock'd is devoted to spoon and stretch 's flight from d - reper and from the police , and those sub - plots serve up some thoroughly predictable moments .
in one scene , stretch scares off d - reper by getting chummy with a police officer ; another presents that old chestnut of the two mistakenly - suspected heroes in a public place watching a television news report of the crime which shows their pictures .
the entire sequence of events seems designed merely as an excuse to get spoon and stretch running , while the other primary plot has them standing in line or sitting down much of the time .
hall also plays with gratuitous inserts of drug paraphernalia and flashbacks to the day before the film 's main events , perhaps making a particular effort to point out the talent the characters are wasting through self - destructive behavior .
oh , the irony of it .
tupac shakur made a career in music and movies playing the hard case , and living the life to back it up .
in gridlock'd , shakur gets the chance to play someone who has seen enough of the way his life could go to know that it scares him .
spoon is an idea for a character at best as written by hall , but shakur displays an intelligence and survival instinct which struggle with his addiction .
mostly it comes through those eyes , eyes with none of the hardness you might expect from the infamous gangsta .
it is spoon who plays conscience to stretch 's pure appetite , and roth plays stretch with a gleeful self - destructiveness ( he reveals that he is hiv positive even as he is preparing to shoot up again ) which is as much an obstacle to spoon 's goal as any agency or enemy .
gridlock'd 's most cruelly comic scene finds stretch " helping " spoon get into an emergency room by repeatedly stabbing him with a tiny pocket knife , and it becomes an appropriate symbol for how the company he keeps has slowly drained the life out of him .
with friends like that , spoon does n't need enemies , and shakur looks at stretch with the tired eyes of a man who has seen too much .
the tragedy now is that we wo n't get more chances to see those eyes again .

Ex Output:

P