In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

Review: This is easily a 9. Michel Serrault, known more for comic roles in the earlier part of his acting career, does a stunning, even worryingly stunning job of impersonating Dr Petiot, a legendary French serial killer.He is just so believable at every and any moment in the film, that the actor completely disappears behind the character - only the very best ever achieve this feat, and when they do it is only in a handful of parts at best.The whole story (a real story which happened in 20th century France) is so powerful, so sinister - it makes for a very strong film that one remembers for a long, long time. Question: is it a negative review?
no

Review: As I mentioned previously, John Carpenter's 1978 classic is one of the first two movies I can remember seeing and being heavily influenced by (the other being the classic Conan the Barbarian). It so truly scared me that the only monster under my bed was Michael Meyers, whom I eventually befriended (imaginary friend) to keep him from killing me in my sleep. Now that is terror for a 10 year old.It is a horror classic and I am sure my modest review will not do it the justice it deserves. The most surprising thing of all is that the movie still works, perhaps not in the guttural reaction but more of a cognitive possibility or immediate subconscious. This all could happen. It isn't in the realm of impossibility or located in a foreign country (as most modern horror is, i.e. Hostel, Touristas, Cry Wolf, Saw,etc). At times it is graphic while the rest is relegated to our imaginations. I believe it is this element that keeps people terrified or at the very least wary of going outside at night with the signature soundtrack still vivid in their head. It still works because we can substitute implied or tertiary killing with anything more terrifying that our mind can create. So we ourselves are contributing to our own fears and anxiety.Carpenter weaves a simple story about an everyday, middle class, suburban and relatively benign child who snaps on Halloween and kills his sister. He then spends the next 15 years in an institution (which we thankfully do not experience) only to escape and return to his hometown, the infamous Haddonfield. On his way he kills and kills. The child's name is Michael Meyers, though he is not a person. John Carpenter uses Michael Meyers as a metaphor against the implied safety of middle class suburbia. In the bastion of American safety and security, chaos can still strike.Michael ceased to be a person once he killed. He is not a serial killer, human being or psychopath. He is as unstoppable force. The generic overalls, bleached-white Shatner mask, and lack of any dialog other then some breathing, helps to dehumanize and complete Michael's generification. This is the source of all his power. He is faceless, speechless and unremarkable in any way other than as a source of unrelenting chaos. This is helped by the cinematography (post card effect), a lack of information/motivation/explanation and the veteran narrative experience of Donald Pleasence (Dr. Loomis). His over the top performance and uneasiness sells "the Shape". This is also the first film performance by Jamie Lee Curtis as Laurie Strode, the innocent girl who deters chaos in the face of overwhelming odds (at least for a little bit). Though this isn't the first movie of this new niche of horror films (Black Christmas came out 4 years earlier), it is the most successful and does not diminish upon reviewing. If you haven't been scared by horror movies in a long time (like me), this will probably make the hairs on the back of your head tingle at the first chords of the signature soundtrack. I highly recommend this movie as a must see horror movie and as one of the pinnacles of John Carpenter's career. Question: is it a positive review?
yes

Review: Made after QUARTET was, TRIO continued the quality of the earlier film versions of the short stories by Maugham. Here the three stories are THE VERGER, MR. KNOW-IT-ALL, and SANITORIUM. The first two are comic (THE VERGER is like a prolonged joke, but one with a good pay-off), and the last more serious (as health issues are involved). Again the author introduces the film and the stories.James Hayter, soon to have his signature role as Samuel Pickwick, is the hero in THE VERGER. He holds this small custodial-type job in a church, but the new Vicar (Michael Hordern) is an intellectual snob. When he hears Hayter has no schooling he fires him. Hayter has saved some money, so he tells his wife (Kathleen Harrison) he fancies buying a small news and tobacco shop. He has a good eye, and his store thrives. Soon he has a whole chain of stores. When his grandchild is christened by Hordern, the latter is amazed to see how prosperous his ex-Verger. The payoff is when bank manager Felix Aylmer meets with Hayter about diversifying his investments. I'll leave it to you to hear the unintentional but ironic coda of the meeting.According to Maugham he met a man like Max Kelada (Nigel Patrick) on a cruise. In MR. KNOW-IT-ALL Kelada is a splashy, friendly, and slightly overbearing type from the Middle East who is on a business trip (regarding jewelry) by steamship. His state-room mate is Mr. Grey (the ever quiet and proper Wilfred Hyde-White) who is somewhat, silently disapproving of Max. Max likes to enliven things, and soon is heavily involved in the ship's entertainment. At this point the story actually resembles part of the plot of the non-Maugham story and film CHINA SEAS (1935), as Max makes a bet that he can tell a real piece of jewelry from a fake (after insisting that a piece of jewelry he spotted is real). I won't describe the way Max rises to the occasion.SANITORIUM is the longest segment. Roland Culver plays "Ashenden" (the fictional alter-ego of Maugham - a writer and one time spy as in Hitchcock's THE SECRET AGENT). Here he has to use a sanitorium for a couple of months for his health. He finds a remarkable crew of people, including Jean Simmons as a frail but beautiful young woman, Finlay Currie as an irascible Scotsman, John Laurie as a second irascible Scotsman who is "at war" with Currie, Raymond Huntley as a quiet patient who only shows his internal anger at his situation when his wife shows up, and Michael Rennie as a young man who has a serious life threatening illness. Culver watches as three stories among these characters play out to their conclusions. The last, dealing with Simmons and Rennie, is ironic but deeply moving.It was a dandy follow-up to the earlier QUARTET, and well worth watching. Question: is it a negative review?

no