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

Example Input: note : some may consider portions of the following text to be spoilers . be forewarned .
like its own opening shot , from out of the darkness boogie nights triumphantly explodes upon the film scene with stunning authority and clarity , persuasively heralding its helmer paul thomas anderson as a bonafide major talent .
a sprawling epic set in the heart of the disco era and focused upon the ascension and decline of a troupe in the adult film industry , boogie nights is an astonishingly ambitious feature film which is completely effective both as an utterly entertaining joyride and as a strikingly impressive piece of filmmaking .
the film follows a soft - spoken young man , eddie adams ( mark wahlberg ) from torrance , through his induction into the erotic picture business to stardom , and later , to a harrowingly precipitous drop .
as boogie nights opens , he 's toiling as a dishwasher in a trendy san fernando valley nightclub , and living at home under the thumb of a tyrannical mother who denigrates him at every opportunity .
recruited by fatherly jack horner ( a rejuvenated burt reynolds ) , a successful porn filmmaker , eddie abandons his old life in favour of a new one as dirk diggler , pornstar .
wholeheartedly embraced by jack 's troupe , including the maternal amber waves ( julianne moore ) , reed rothchild ( john c . reilly ) , buck swope ( don cheadle ) , rollergirl ( heather graham ) , dirk and his " one special thing " are quickly propelled to the top of his field , fulfilling his mantra of being a " big bright shining star " .
his lack of discipline , however , incites a chain of circumstances which sees dirk and his friends unravel as a new decade is ushered in .
the element of boogie nights which literally commands attention is the bravura direction by mr .
anderson , whose fascination and prowess with the camera is obvious .
from the terrific tracking shot throughout a nightclub which opens the film and introduces the players through to the showy sequence in the camera follows a female partygoer diving into a pool , mr .
anderson 's accomplished command of the camera is without question .
while novice directors often demonstrate an unfortunate lack of restraint in terms of flamboyant camerawork which ultimately proves to be aggravating , impertinent and self - congratulatory ( case in point : marc rocco 's unforgettable perpetual - motion helming of murder in the first ) , in boogie nights every zoom or pan by mr .
anderson , be it slow and deliberate or energetically sharp , is purposeful and potent .
it 's a rarity and a delight to discover such a confidently assured work so early in a filmmaker 's career -- boogie nights is only his second feature film , following up his debut feature from earlier this year ,
hard eight -- and
although it 's somewhat derivative ( his storytelling style is reminiscent of robert altman , while in terms of visuals he 's clearly influenced by martin scorsese ) , at least he 's borrowing from some of the best , and it 's entirely effective within the context of this film .
while boogie nights is astonishingly polished from a technical perspective , in terms of sheer entertainment value it 's also rollicking good fun , with a wickedly deadpan sense of humour .
the film perfectly captures the essence of the disco period in terms of music , clothes , hairstyles , dance , idioms , and culture , aided immeasurably by impeccable production design by bob ziembicki and costume design by mark bridges , and boogie nights convincingly catapults the audience back to this recent , pre - aids - scare period in american history where uninhibited , free - wheeling lifestyles abounded .
while much of the film 's humour pertains to the characters ' obliviousness of now - outdated aspects of their lives then prevalent in society -- a prime example is part - time salesman buck swope 's demo of a stereo system with an eight - track tape , and inviting a prospective customer to get ' freaky deaky ' with the music -- it 's elicited with an undercurrent not of ridicule , but of wistful reminiscence , and some the throwback elements in the film are strangely wondrous .
a giant ensemble disco dance production number in a nightclub is funny , to be sure , but oddly magical , and the sequence which lovingly explores eddie / dirk 's bedroom , completely adorned with posters and elements of iconic 1970s figures ( farrah fawcett , cheryl tiegs , bruce lee ) is breathtaking .
ably supported by a well - selected collection of period music ( all of which purportedly came straight from mr .
anderson 's personal collection )
, there 's a clear affection for the era in boogie nights .
it 's the period aspect and the playfully comic nostaligism of boogie nights which has been played up in its marketing campaign in deference of the pornography element of the storyline ; the film 's promotional trailer markedly avoids any explicit reference to the adult film industry which unites its characters .
after the debacle with 1996 's milos forman film , the people vs .
larry flynt , another finely - crafted work which was knocked off the market prematurely due to controversy regarding its pornography - related storyline , the new line marketing team faced a unique challenge with boogie nights in terms of attempting to deemphasize the relatively risque erotic picture element of the story in order to increase salability to the general public .
however , while boogie nights delves into the world of the adult film industry of two decades ago , it 's hardly a lurid or seamy film -- given the subject matter , there 's very little nudity , and virtually none of it can be construed as gratuitous -- and boogie nights smartly depicts
erotic filmmaking not as a hotbed of carnality , but simply as a business .
the glimpses on the sets of jack horner 's shoots reveal that while the films he makes are intended to titillate , there 's a candid matter - of - factness in terms of sex ; his cast and crew are professionals who are merely doing a job , and it 's refreshing that the obvious cliches of depravity and sinful lechery often linked to dismissive portraits of adult filmmaking , such as coercion or debauchery , are avoided .
if anything , boogie nights is more interested in the process of adult filmmaking than the adult films themselves .
jack horner 's dream is an honourable one -- he genuinely aspires to make a great film -- and to some degree boogie nights is reminiscent of ed wood ( albeit lacking a certain wistful innocence ) .
in both films , the world of quickie low - budget filmmaking is explored , and both jack horner and the version of ed wood by tim burton , scott alexander , and larry karaszewski share similar mindsets -- jack 's retort of " there are shadows in light , baby " to his cinematographer 's complaint about poor set lighting echoes back to ed
wood 's
" it 's not about the little details , it 's about the big picture !
" rant when it is pointed out that his graveyard set for plan 9 from outer space appears patently false .
in boogie nights and ed wood , the aspirations of the respective filmmakers ' prove to be bemusing , not in their intentions -- there 's nothing inherently silly in the goal of making an ' artistic ' erotic picture -- but in the degree that they miss the mark .
much like the humour lacing ed wood , the laughs involving jack horner are double - edged ; after viewing a hilarious excerpt from one of his latest films which hybridizes the james bond and porn genres , when jack breathes " this is the best work i 've ever done " , it 's genuinely funny , but given his utter sincerity , also possesses a tinge of sadness .
mr .
anderson is at this point clearly a greater talent as a director than a screenwriter .
while boogie nights shows great inventiveness in staging , there really is n't any clever dialogue in the film , though a valid point certainly can be made that none of the film 's characters particularly lend themselves to thoughtful verbal exchanges ; when one considers that the film 's * protagonist * literally does n't say a single insightful thing throughout the entire 152 minute running time , it 's no wonder why the playfully inane " how much can you bench ?
" banter between dirk and reed constitutes one of the film 's finest exchanges .
and while mr .
anderson creates a rich collection of fascinating characters
, it 's problematic that some of the the threads given to the film 's characters are simply stale material -- julianne moore 's child custody battle is fairly cliched stuff , better suited for a less risque and uninspired tv - movie version of her character 's story , and far less interesting than the thread dealing with her woefully hackneyed filmmaking ambitions .
still , even if he does n't always know what to do with his characters , mr .
anderson most definitely captures their essences , and his resolutely nonjudgemental affection for them is infectious -- misguided , even aimless , hopelessly naive , self - destructive , insufferable : i loved them just the same .
in any case , it 's hard to pick nits with a screenplay which contains one of the most audacious and inspired ( and ultimately best - executed ) scenes of the year :
a scene where dirk diggler and reed rothchild are dragged along by their loose - cannon compadre to the home of drug baron rahad jackson ( a mesmerizing alfred molina in an unforgettable performance , even if it 's a small one ) in a suicidal drug deal scam , only to find that the millionaire is a crazed eccentric ( the part where he stops the deal to listen to the crescendo of night ranger 's " sister christian " on his stereo system is sheer brilliance ) flanked by an armed bodyguard .
if this scene already was n't tense enough with these elements , mr .
anderson introduces a chinese boy that wanders through the scene , who for no discernable reason is tossing firecrackers around the room , pushing the scene to a new , surreal level of delightful giddiness .
there are some other interesting touches in boogie nights .
mr .
anderson recycles the use of long methodical chimes on the soundtrack from hard eight ; here , it accompanies the violent intercut sequences which depict the prostration of various characters to frightening effect .
similarly , a painful scene where crew member scotty j ( philip seymour hoffman ) breaks down in tears in the driver 's seat , sobbing " i 'm so stupid " after being rebuffed by dirk after an awkward but heartfelt advance is strikingly played out exactly as a later scene with dirk in the driver 's seat after a particularly tumultuous and traumatic evening .
boogie nights is exceedingly well cast , and each of the actors rise to the occasion ; the ensemble cast is uniformly good .
while most of the acting accolades will no doubt go to mr .
wahlberg ( fulfilling upon the sparks of promise he demonstrated in some of his earlier films ) and mr .
reynolds ( terrific as the father figure and stable anchor of the film , ringing true in every respect ) , a handful of other performances
which might otherwise be overlooked deem mention .
mr .
reilly demonstrates here , as he did for brief glimpses in ulu grosbard 's georgia , a genuine aptitude for comedy -- many of his scenes in boogie nights are among the very funniest in the film .
i 'm not sure how much of his performance as reed was scripted and how much was done on the spot , but he plays the quintessential second banana character to a tee .
mr .
reilly is the best part of the big disco dance production number , and
it 's wickedly funny to watch his reed join in with dirk after the fact in threatening the new stud on the block during a macho altercation .
worth the price of admission alone is the glimpse of him getting down in the recording studio while the dirk character is laying down a numbingly bad ( and dead - on period ; it sure sounds like bad early 1980s to me ) demo track
" you got the touch " in a vain attempt at a musical career .
mr .
reilly plays his vacant character with utter conviction which is convincing and effective .
ms .
graham , with her long dirty blonde hair , innocent demeanour , and huge hazel eyes , looks like a disney animated heroine come to life -- or in this case , a disney animated heroine who came to life , made a wrong turn , and ended up on the new line lot in a film focused on the late 70s / early 80s adult film industry .
consequently , it 's a bit incongruous to see this cheery sweet - faced starlet whizzing about the set on her roller skates , but in a scene where she 's lounging in a limousine prowling the streets , garish red lipstick messily smeared on , giving the camera a hilariously pouty come - hither look , all one can do is gulp .
her role in the film sadly needs more fleshing out ( err -- in a figurative sense ) -- she 's essentially a glorified extra -- but she does score impressively in her key scene which is unnerving in its sheer primal ferocity .
( if only mr .
anderson had filmed the scene so that we could actually see the expression of rage and anguish on her face , though ! ) and a cautionary tale for the strict and prudish : as a teen , ms .
graham 's parents forbade her to take a part in the twisted cult classic heathers ; since then , her most notable roles have been as a junkie ( gus van sant 's drugstore cowboy ) and now a porn starlet .
draw your own conclusions .
perhaps the most quietly touching performance in boogie nights is that of mr .
cheadle , who lends dignity to his role as a character in search of his identity , and whose quest is comically manifested by a series of changes in his sense of fashion .
his relationship with his cheerfully supportive new wife jessie st .
vincent ( an interesting melora walters ) is wholly compelling has genuine sweetness , and although his general longing for acceptance from others is perceptible , it 's no more so than in the bank scene where his loan application to open a stereo store is rejected due to his background in the porn industry .
while the scenario is familiar , the wounded look in cheadle 's eyes makes the scene unforgettable .
luis guzman 's most famous work is possibly in brian de palma 's carlito 's way , and here he plays a variation on the same character : maurice t .
rodriguez is a hapless but good - natured nightclub owner who 's a hanger - on to jack 's group , ingratiating himself into the clique and constantly hounding jack , with little disguise made of his desperation , for a part in one of his erotic pictures .
jack 's eventual acquiescence to maurice 's request leads to one of boogie nights ' biggest comic payoffs .
boogie nights is a stunning achievement due to the virtuoso direction by mr .
anderson , who immediately asserts his presence in the film industry as a presence of note with this work .
striking a fine balance between humour and drama , and exceptionally well - crafted , there 's no doubt that boogie nights is among the very best films of the year .
Example Output: P

Example Input: did i do something bad ?
i must have , because sitting through this movie was sheer punishment .
here 's the plot .
ricky ( jeff goldblum ) is producer of the good - buy network , one of those 24-hour home shopping channels .
the new boss ( robert loggia ) plans to can ricky 's behind if he does n't turn the previous months ' flat sales numbers around , and to add to his problems , ricky also has to work with kate ( kelly preston ) , the ivy league wunderkind whom the boss has brought with him .
kate and ricky do n't get along and do n't have any great ideas until they meet g ( eddie murphy ) , a spiritualist who sees something positive in everything .
his soothing voice and simple logic makes people feel good , and it 's this quality that will make g the new gbn television star and the key to the network 's success .
the first problem is a flaw in the plot .
sure , g makes people feel good .
sure , we 're told that most people feel guilty after buying an impulse item , no matter how wealthy they might be , and i 'll even believe that g talks a talk that allows people to feel good about what they 've bought .
but , hey , that 's after they 've bought it .
why do sales skyrocket the first time g is on camera ?
far from trying to sell the product , g instead blathers on about how you do n't even need the thing .
someone please tell me how this is supposed to move merchandise in the first place .
you might say that people feel good about what they 've bought , so they come back and by more , but due to the simple fact that the first round of sales in inexplicable , i 'm not convinced this is what the filmmakers had in mind .
the whole movie is therefore seriously undermined because the key point in the plot is never credible .
another problem is in the humor .
you know , if you see that eddie murphy is in a movie , i think it is not unreasonable for you to expect that the film is a comedy .
whoa , partner , are you in for a surprise .
holy man is not funny .
murphy , the one asset you 'd think this movie has ( remember how they brought him in at the last minute to save best defense ? - then again , maybe you do n't ) is seriously reigned in .
the script gives him almost nothing to work with , and it seems as though director stephen herek kept him toned down so that the other actors in the film would n't be left as window dressing .
there 's only one moment in the film where murphy is allowed to let loose , and it lasts for three shouted words , which seem totally out of place as a result . pathetic .
in all , there are about three jokes that work in the entire picture , and they 're not even that great .
as a side note , there are some cameo appearances such as dan marino pitching a contraption which allows you to cook off of your car engine , and james brown introducing a medic - alert device that shouts " help me ! "
just like the hardest working man in show business at the push of a button , but these never cause your personal laugh - o - meter to rise above the level of mild bemusement .
" well , " you ask , " surely there must be some convincing performances to make up for the lack of humor .
" think again , buckwheat .
jeff goldblum disappoints .
kelly preston is flat ( but not like that ) .
robert loggia , in the kind of role for which he has been virtually typecast , ca n't do anything with it .
the script is part of the problem , but these actors do n't even look like they believe in the move they 're making .
they look a lot like they 're bored .
just like the audience .
so what do you have when the humor is absent from your comedy , and the acting is like the siberian steppes ?
a film that drags more than a dropped anchor .
but wait !
as if these problems do n't make the film slow enough , the screenplay 's pacing makes the movie even slower !
it takes the entire first half hour to establish the movie 's premise , then more time as the film wades through
a tortuous ( and seemingly mandatory ) romance between ricky and kate , and a sub - plot involving a conniving pr man ( eric mccormack ) who wants to discredit g and take over ricky 's job as producer .
when the pr guy 's plan is foiled , the film is climaxes , we 're treated to that little epilogue , and then we can all go home ,
right ?
wrong .
the movie goes on for another half hour !
continental drift is the indy 500 compared to the pace of holy man !
the only thing holy about holy man will surely be the number of people exclaiming
" holy !
@#% that movie was awful !
" this one is for the truly pious .
Example Output: N

Example Input: voices . . . . . trey parker , matt stone , george clooney , minnie driver .
" south park : bigger , longer and uncut " is undoubtedly crude , offensive , mean - spirited movie , that comes off as a politcally correct movie too .
if your canadian , a strong christian , fat , gay or anything else , you will be offended .
but when you watch this movie , there is no doubt that you will laugh .
based on the wildly popular comedy central tv show , south park stars cartman , an overweight , foul - mouthed kid , with attitude , and a sweet side .
kenny , a poor kid who gets killed in every episode , and talks with his coat hood covering his head .
stan a regular , sometimes boring kid who has problems with women . and kyle a lonely jew who talks to his poop .
the movie opens with a funny , but messageable song , that all of the people of south park sing .
cartman , stan , kenny and kyle are very excited to see the new terrance and phillip ( beavis and butthead types ) movie " asses of fire " .
but when the kids get up to the movie to get the tickets , they learn the movie is rated r , which of course means that anyone under the age of 17 can not get in without a parent or legal guardian .
the kids do not understand this , and they pay a homeless man to buy their tickets .
while in the movie , laughing at the movie , terrance and phillip cuss repeatedly entertaining the kids .
they kids then go out and cuss themselves , getting in trouble and causing kyle 's mom to go against the mpaa .
while doing this kenny learns a thing or to , by proving to cartman he can light his fart on fire .
kenny does so
, dies , and goes to hell , to find out that satan and saddam huiessan ( homosexual lovers ) , are about to take over the world , if terrance and phillip die .
>
from here on , nothing more should be said to keep the rest a surprise .
but believe me , this is n't your regular south park tv show , and should not be seen by anyone under 14 or more .
this film contains extreme profanity ( over 130 " f " words and a collection of others ) .
but beyond being bad in a tasteless type way , south park : bigger , longer and uncut has many messages that are embedded inside it .
but i bet
you will not leave the movie , for at least laughing one time or more . and enjoying yourself . take it from me , south park : b , l , and u , is n't as good as you 'd hope , but
it is good for some laughs .
Example Output:
P