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: Sure, 65 years have passed since Thalberg's last production was filmed. But fellow IMDB members, come on, this movie is surely one of the masterpieces of the 30's! It is a 10.This was the first movie I saw at New York's Museum of Modern Art, around 1970 (I was a teenager). Expensive looking yet with scenes of such poverty, masterfully photographed, often thrilling, and always engaging, to me it was MGM movie-making at its best. What did audiences feel when they glimpsed a locust attack, the person by person destruction of a mansion, the horrific poverty and then the splendor of wealth.Last week, those watching the Academy Awards had a glimpse of the "senior" Oscar winner in attendance, Luise Rainer. How grand to see an actress who arguably delivered one of the most masterful, haunting performances in history electing to return for a celebration.Ok, so she should not have won the year before (Great Ziegfeld), but don't blame Luise. Talkies were only a decade old when this was released, and her dialogue limited. But as Olan, her use of visual and vocal is memorable.Large scale and touching, what more could a movie lover want! Question: is it a positive review?
yes

Review: Following the brilliant "Goyôkiba" (aka. "Hanzo The Razor - Sword Of Justice", 1972) and its excellent (and even sleazier) sequel "Goyôkiba: Kamisori Hanzô jigoku zeme" (aka. "Razor 2: The Snare", 1973), this "Goyôkiba: Oni no Hanzô yawahada koban" aka. "Razor 3: Who's Got The Gold" is the third, and sadly final installment to the awesome saga about the incorruptible Samurai-constable Hanzo 'The Razor' Ittami (brilliantly played by the great Shintarô Katsu), who fights corruption with his fighting expertise as well as his enormous sexual powers. As a big fan of 70s exploitation cinema made in Nippon, "Sword Of Justice" became an instant favorite of mine, and I was therefore more than eager to find the sequels, and full of anticipation when I finally stumbled over them recently. While this third "Hanzo" film is just not quite as brilliant as its predecessors it is definitely another great piece of cult-cinema that no lover of Japanese exploitation cinema can afford to miss. "Who's Got The Gold" is a bit tamer than the two foregoing Hanzo films, but it is just as brilliantly comical and crudely humorous, and immediately starts out fabulously odd: The film begins, when Hanzo's two assistants see a female ghost when fishing. Having always wanted to sleep with a ghost, Hanzo insists that his assistants lead him to the site of the occurrence... If that is not a promising beginning for an awesome film experience, I don't know what is. Shintaro Katsu, one of my personal favorite actors, is once again brilliant in the role of Hanzo, a role that seems to have been written specifically for him. Katsu IS Hanzo, the obstinate and fearless constable, who hates corruption and deliberately insults his superiors, and whose unique interrogation techniques include raping female suspects. The interrogated women than immediately fall for him, due to his sexual powers and enormous penis, which he trains in a rather grotesque routine ritual. I will not give away more about the plot in "Who's Got The Gold", but I can assure that it is as cool as it sounds. The supporting performances are also very good, and, as in the predecessors, there are plenty of hilariously eccentric characters. This is sadly the last film in the awesomely sleazy 'Hanzo' series. If they had made 20 sequels more, I would have happily watched them all! The entire Hanzo series is brilliant, and while this third part is a bit inferior compared to its predecessors, it is definitely a must-see for all lovers of cult-cinema! Oh how I wish they had made more sequels! Question: is it a negative review?
no

Review: Samuel Fuller's Pickup on South Street is anomalous: A "Red Scare" movie devoid of hysteria, in which the Communist threat is nothing more than the McGuffin that ignites the plot. Pickpocket Richard Widmark relieves loose woman Jean Peters of her wallet containing a strip of microfilm; unbeknownst to either of them, it harbors secrets vital to the Cold War. Peters, as it happens, was under surveillance by FBI agents who are as nonplussed by the theft as the man who's running her, cowardly comsymp Richard Kiley. In trying to retrieve the precious film, both sides enlist the help of Thelma Ritter, a streetwise old jane who's always on the earie and willing to sell what she hears.Fuller draws from an opulent palette of tempos and tonalities in telling the story, which becomes a race against the clock of escalating brutality. From the subways to the waterfront, his midsummer Manhattan takes on a sweaty sheen that's almost pungent. The love scenes between Peters and Widmark become an unstable mixture of the tumultuous and the tender, and they're scored to "Again," a song introduced by Ida Lupino in Road House, also starring Widmark. The pace slackens for Ritter's beautifully written and played death scene -- among the most poignant vignettes in all noir, and a kind of mirage-oasis in a film parched of sentimentality. This is writer/director Fuller's only work in the strictest confines of the noir cycle; his later explorations of American pathology (The Crimson Kimono, The Naked Kiss, Underworld U.S.A.) never resulted in a synthesis as satisfying as Pickup on South Street. Question: is it a positive review?

yes