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

[Q]: if he does n't watch out , mel gibson is in danger of being known as someone other than mad max .
of course there are still a few big guns in this film , but there 's some accomplished acting too .
although gibson continues to shed his rough and gritty anti - hero skin as his career progresses , here he explores a new genre : the businessman as action hero .
in ron howard 's latest film , gibson plays tom mullen , a gazillionaire airline owner whose son is snatched from the junior science fair by kidnappers .
mullen at first agrees to pay the ransom , but when things fall apart he rethinks the situation .
a veteran of numerous hard - nosed business negotiations , the tycoon realizes that in order to get his son back alive , he has to play his hand differently .
the casting is what puts this film over the top .
the trio of gibson , the kidnappers ' mastermind ( gary sinise ) and fbi team leader ( delroy lindo ) play off of each other wonderfully .
sinise is perfect as the driven scheming sleezebag is right on the mark .
his speech to mullen over a walkie talkie about h .
g .
wells ' morlocks and eloi reveal his vision of society .
mullen and the other glitteratti frolic up on high while sinise and the other lowlifes
dwell below , feeding off the unsuspecting .
gibson 's character is an all - american hero with a few flaws .
his cowboy tactics tend to work , but they are also what got him into this situation to begin with .
in a round about way , if he were n't known as a man who is willing to buy his way out of trouble , his son would n't have been kidnapped .
as sinise says " you 're a payer .
you did it once
and now you 're going to do it again .
" one of the nicest elements of this film is that most of the characters actually have personalities .
lindo calls home to talk to his kids , obviously shaken at working this case .
even the kidnappers are real people , arguing about the ultimate fate of sean mullen and feeding him candy bars .
gibson 's break - down on the balcony of their penthouse apartment is especially effective .
it 's one of the best filmed representations of a man 's world falling apart that i 've seen
.
it 's not all perfect .
the shoot 'em upending , while emotionally satisfying seems tacked on to be just that rather than to provide a powerful resolution .
as well crafted as the scene is , we 've seen it before .
mullen 's wife ( rene russo ) has several good moments , but occasionally just seems to be there .
while adequate , brawley nolte ( sean ) does n't provide much to the film other than occupying space to build the story around .
but you 'll ignore these problems as each minute of the movie builds on the previous one .
forget about the large coke , you wo n't want to leave for that five minute break an hour later .
[A]: P


[Q]: seen august 8 , 1998 at 6 p .
m .
at rotterdam square cinemas ( rotterdam , ny ) , theater # 6 , by myself for free using my sony / loews critic 's pass .
[ theater rating :
*
*
* : good seats , sound , and picture ] war is a topic that ca n't help but be glorified any way it is portrayed by the media .
movies , documentaries , and even history books have a way of making the darker side of humanity exciting since the most general aspects are focused on , such as strategy , politics , and victory .
it 's easy to forget war , in its most basic form , is a battle of armies out to slaughter each other .
forgotten more easily is the fact that each soldier , no matter what his rank or importance , is a real flesh - and - blood person and not just a number . " saving private ryan " is one of the few films that dares play up this aspect , especially in its unapologetic , realistic delivery .
it proves there 's a huge difference between battling and killing .
the film opens with one of the most graphic , disturbing scenes in recent memory .
it 's world war
ii , d - day to be exact , and the u . s .
military is invading omaha beach where the nazis are more than ready for them .
spielberg uses many techniques to create for a total sense of reality . instead of positioned cameras , the footage here seems to have been shot by camera operators running alongside soldiers as if they were just as scared .
there is no sense of stability , but of constant , anxious , and confusing motion , giving us the feeling of being in the middle of the battle , and just a vulnerable as the poor troops .
" poor " is a proper word to describe how pathetic and yet innocent the men fighting are .
there is little to no dialogue throughout the loud battle and no prologue to define any characters .
we do n't get the feeling these are handsome actors playing heroic roles , but that these are men about to kill and be killed for reasons beyond their understanding .
the nazis are not portrayed as enemies to be hated , but as people that must be destroyed because they 're there .
in the movies , the good guys can run through a firestorm of bullets and bombs and not get a scratch , but in reality that would n't happen .
the men have nothing to shield or protect them besides some metal flanks and dead bodies .
they are sitting ducks and we realize this through the perspective of the well - secured germans who can actually see who , what , and where they 're shooting , unlike the americans who must fire in a general direction to avoid getting their heads blown off .
perhaps the film is flawed by not providing any backstory on the war itself and who the men really are , but that seems to be part of the theme .
the film seems to rely on the audience 's sense of patriotism , that the american military is " right " and good and that the nazis are " inherently evil .
"
the battle scene eventually focuses on a group of men who have miraculously survived and made their way close to the enemy stronghold ( a whole 50-foot progression ) , and begin to inflict some damage .
i have to admit that once the first glimpse of victory over the nazis sprang up , i could n't help but feel some sense of joy and relief .
to triumph against all odds is a cliche to be sure , but there 's nothing cliche about the graphic , detailed , atmosphere here because it really happened .
one of the most surprising aspects of the film is how little story construction there is , and yet the events that take place make sense and are interesting
.
the plot is practically irrelevant since the film is more concerned with the reality of the war and the soldiers we meet .
tom hanks stars as captain miller , a relatively average man who happens to be the leader of a platoon .
he 's never obsessive or any such generic , cartoonish characteristic that might dominate a character like this .
he does n't want to be there any more than his men , but when he is given a mission he intends to carry it out .
the mission the film is concerned with is , as the title states , saving private ryan .
through a series of command started by an ordinary clerical worker , it is brought to a general 's attention that three brothers from iowa have been killed in action and their mother will receive notices of each 's death simultaneously .
when they learn a fourth brother is stationed somewhere in europe , they make it a top priority to have him returned safely to his mother .
it 's easy to sympathize with this situation , after all , no one should have to lose all their children at once .
but finding one man in this war is , as miller puts it , " like trying to find a needle in a stack of needles .
"
the saving of private ryan is n't just a dramatic device , but a thematic one .
his salvation represents the sense of innocence the country , the world even , was trying to convince itself it still had .
when miller 's company hears of the mission , they scoff at the idea assuming he is dead , but miller is n't so quick to shrug it off .
he knows the only thing that can really save soldiers from death is hope , and now he has the opportunity to make someone 's sense of hope a reality .
the mission to find ryan gives miller 's group a destination , but not direction .
along the way many things happen to them , both good and bad .
a few battles are fought , not to be major accomplishments for the war , but because they encounter german soldiers and have no other choice .
the act of killing itself becomes one of the film 's major philosophical metaphors .
the soldiers do n't mind killing other soldiers in blind battle , but when they come across a lone survivor who begs them to let him go , they can barely stop themselves from killing him in cold blood as some kind of vengeance for their losses .
unfortunately , death is a fact of war , and most films try to avoid it when it comes to the main characters , but here spielberg does n't want us to think these men are invincible .
in fact , only a small amount of color and personality is sketched into each man , and the performances are good enough to make this method work .
although the characters are somewhat typical , the actors maintain control over the material at all time . whether they 're arguing with each other , telling stories of back home , or fighting the germans ,
they never go overboard and always seem believable
.
sure , there 's a zinger here and there , but war does n't change the fact boys will be boys .
if and when one dies we too can feel the loss , even though we hardly knew them .
the final act brings the story full circle with another tremendous , violent battle sequence .
private ryan has been found , but facing four to one odds , can the americans defeat the germans and keep ryan alive ?
that 's not a premise for thrills , it 's symbolic of everything the film has worked for .
it would be wrong to say the film has either a happy or sad ending , it ends the way it must end .
i remember reading a " calvin & hobbes " comic strip where calvin asked his dad something like , " dad , how do armies of men killing each other solve problems ? "
" saving private ryan " is the adult version of that question .
[A]: P


[Q]: in _ daylight _ , sylvester stallone breaks no new ground , cinematically speaking , but
he covers familiar territory quite well . yesterday , as i was going about my business in the university bookstore , i noticed this stand with these _ daylight _ movie posters on it .
i had never heard of the movie , so i stopped by to check it out .
it turned out that they were giving away free passes to the movie for people who had or applied for the credit card they were offering .
so , i shrugged , thought , " hey , they probably wo n't give me the card anyway , and i could always use a free movie ,
" so i signed up .
all in all , i do n't think i got that bad of a deal , either .
rob cohen , who has previously brought us such films as _ dragon :
the bruce lee story _ and , more recently ,
_ dragonheart _ ( gee , i wonder if he likes dragons for some reason ?
you think ? ) , now brings us a very nicely executed disaster picture , with fx by industrial light and magic , about the after - effects of an explosion that collapses a busy tunnel between new york and new jersey .
sylvester stallone plays kit latura , who is essentially a carbon copy of the character he played in _ cliffhanger _ : a paramedic on the outs because he made a mistake that got people killed .
when the crisis hits , he is in the right place at the right time and takes it upon himself to go in and get everybody out .
there are other similarities to _ cliffhanger _ , too ; perhaps the only real difference is that _ cliffhanger
_ had a villain , where _ daylight _ 's bad guy is mother nature .
in fact , had the two movies been made in hong kong , this might have been titled _ cliffhanger ii_--it bears the same relationship to that film that most hk film " sequels " do to their predecessors .
the first half - hour of _ daylight _ is setup .
subplots are woven , and the mechanism of the disaster is assembled .
we meet all the important people . . .
toxic waste disposal truck drivers ; a young , frustrated , jilted , rejected playwright ; a family struggling to stay together ; an older couple and their dog ; a truckload of prisoners ; an ad agency executive ; a tunnel police officer ; stallone ; and others .
we watch the trucks trundle toward their destination ; we watch stallone and so many others driving toward the tunnel for their various reasons .
and then , thirty minutes into the film ,
_ boom _ .
and it 's a big one .
> from there on in
, it 's sly stallone to the rescue . and rescue he does , enduring batterings , beatings , falls , repeated immersion in 34-degree water , explosions , mud , rats , and constant setbacks , before going on to save the day , sly - style .
again .
. .
there 's nothing new here .
and yet there does n't need to be .
the fun of _ daylight _ is not in the story but in the execution .
the special - effects are first - rate , thanks to industrial light and magic , and the ensemble cast works well together
.
once the film hits its stride , it carries the viewer right along to the finish , with very few jars along the way .
this review is copyright 1996 by christopher
e .
meadows .
permission granted for distribution through rec .
arts .
movies .
reviews and all associated archival .
permission granted for free redistribution via cyberspace as long as this message remains attached .
all other rights reserved to the author .
[A]:
P