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

Ex Input:
based on the novel set in 1914 by joseph conrad , victory spins a tale of a pair of lovers , heyst ( william dafoe ) and alma ( irene jacob ) , who seek refuge on heyst 's isolated island .
however , their idyllic world begins to crumble upon the arrival of mr jones ( sam neil ) , martin ricardo ( rufus sewell ) and their servant , pedro ( graziano marcelli ) , who have come to steal heyst 's rumoured plunder .
while the novel is largely complex in characterization , the film sadly transposes conrad 's characters into lacklustre leads , the most disappointing being heyst himself .
conrad 's heyst adheres religiously to his late father 's ways of detachment and isolation .
his ascetic lifestyle is thrown into question when he meets alma , a helpless orchestra girl who charms him with her voice .
the struggle to embrace the arrival of alma into his solitude , however , is lost in mark peploe 's ( director and writer ) diluted version of heyst . without properly establishing the crucial details of heyst 's character , all that is left of conrad 's main character is a very shallow treatment of his internal conflict between detachment and human involvement .
on the one hand , actualizing the subtext is a mammoth task ( though not impossible ) , but on the other hand , dafoe 's flat acting can not be excused as an attempt at stoicism .
in the end , we are supposed to witness heyst renounce his philosophy and finally come to an understanding of what it is to love another .
the final transformation , while perceptible , lacks the cathartic revelation which is undeniable in conrad 's novel .
its absence in the film is unforgivable .
the film seems more concerned about moving the plot along when so much has yet to be said about the relationship between the two complete strangers .
alma is supposed to have overcome great emotional barriers in the relationship , namely heyst 's underlying philosophy of detachment , which heyst himself grapples with .
the struggle against heyst 's ignorance of true human involvement accounts for much of the greatness of alma 's love for him .
jacob , fair - skinned , gentle and yet passionate , handles the role with precision , detailing nuances where possible .
unfortunately , she is let down by a superficial script .
the couple 's relationship develops too hastily , leaving all subtlety effaced and replaced with a blatant show - and - tell approach .
all we know of the characters are mostly explained by their lines alone .
this is unsatisfactory when so much of the turmoil experienced by the two stem from their buried thoughts and emotions .
the sketchy handling of their relationship stands out as sorely as dafoe 's american accent ( an inappropriate one since heyst spent most of his life in london ) .
the other characters such as schomberg ( jean yanne ) , the owner of a hotel , and mr jones ( sam neill ) , also fall short of conrad 's meticulous characterization .
while schomberg should have been more menacing and vindictive , mr jones should have been portrayed as something more of an enigma .
sam neil 's caricature of a slightly stout , effeminate and soft - spoken gentleman - at - large nullifies the effect intended by conrad who describes mr jones as " an insolent spectre on leave from hades , endowed with skin and bones and a subtle power of terror " .
poor characterization aside
, kudos goes to rufus sewell for his excellent portrayal of ricardo , secretary to mr jones , a reckless ruffian capable of murder .
sewell , with his cockney accent and large expressive green eyes , becomes the true terror of the unholy trinity , masterminding deceitful plans behind jones ' back .
at the same time , we are entertained by the foolhardiness of his plans .
despite the authentic setting and marvellous cinematography by bruno de keyzer ,
very few images are left behind for us to savour after the film has ended
. sourabaya and its surrounding islands and volcanoes may have their charm , but mean nothing once the film fails to capture the essence of an epic , which is what victory deserves to be .
the delicately inter - woven complexities in the love story are lost to an inadequate production .
at the end of the film , we are told that perhaps alma 's victory was in teaching heyst how to love .
a hollow victory indeed .
the flying inkpot 's rating system :
* wait for the video .
*
* a little creaky , but still better than staying at home with gotcha !
*
* * pretty good , bring a friend .
*
*
* * amazing , potent stuff .
*
*
*
* * perfection . see it twice .

Ex Output:
N


Ex Input:
susan granger 's review of " the musketeer " ( universal pictures ) hollywood launches another assault on classic literature with this $ 50 million adaptation of alexandre dumas 's novel
that 's strong on action
but weak on drama , fusing hong kong martial arts with 17th century swordplay .
the story chronicles the adventures of the dashing d'artagnan ( justin chambers ) as he leaves his village of gascogne , headed for paris , to join king louis xiii 's elite guard , the royal musketeers , and to search for the man who killed his parents 14 years earlier .
this puts him in conflict with the formidable febre ( tim roth ) , vicious henchman for conniving cardinal richelieu ( stephen rea ) .
the traditional musketeer trio - aramis ( nick moran ) , athos ( jan gregor kremp ) and porthos ( steve speirs ) - do n't offer much help
so he turns to the feisty francesca ( mena suvari ) , chambermaid to the queen of france ( catherine deneuve ) .
scripter gene quintano and director - cinematographer peter hyams are primarily interested in the derring - do , as evidenced by choreographer xin - xin xiong 's elaborate - but not original - stunts , including a fast - paced stagecoach chase , a tavern brawl on rolling barrels , high - wire acrobatics with the combatants dangling from ropes , and a ladder - fight sequence . filmed in southern france , the scenery , sets and costumes are spectacular , but the lighting is too dark and editing is filled with choppy , restless mtv'ish cuts .
as the swashbuckling d'artagnan , bland calvin klein model justin chambers buckles where he should be swashing , totally lacking on - screen charisma , not to mention acting skill .
mena suvari , so impressive in " american beauty , " seems like a contemporary interloper in the royal court .
on the granger movie gauge of 1 to 10 , " the musketeer " is a cinematic but shallow 3 .
" all for one and one for all " ?
not this time ' round .

Ex Output:
N


Ex Input:
it is simply amazing
how " the green mile " developed in its three hour running time .
based on the stephen king series of the same title , the film starts out painfully slow , with underdeveloped characters and idiotic dialogue .
however , as the plot begins to progress , the film turns into pure perfection with outstanding performances and wonderful direction .
frank darabont , who masterfully followed a prisoner 's story in " the shawshank redemption " , this time follows the perspective of a prison guard , paul edgecomb ( tom hanks ) .
through edgecomb 's experiences on a cell block known as the green mile where death row prisoners wait and repent , the audience sees good and evil on both sides of the law .
from an evil prison guard to an evil prisoner , " the green mile " is successful in creating sympathy for kind - hearted hard working guards and hard thinking prisoners .
the plot follows edgecomb and four other guards as they meet a variety of prisoners and after having strong relationships with each eventually are forced to execute them .
the performances by veterans and new comers to back up these original characters are superb .
the ensemble acting in the film is perfect .
hanks , david morse and barry pepper as guards are wonderful and are fitting for their roles
.
they are the characters we most relate to because of their calm less extreme roles .
they are given the positions to make rational decisions at difficult times and they are the ones who fulfill the demands of the audience .
the more unique characters perfectly create friction on the green mile and make the story interesting and exciting .
some particularly note worthy roles of the unique characters include doug hutchinson , sam rockwell , and michael duncan .
hutchinson , playing percy wetmore , a cowardly guard who hides his true feelings by tormenting others gives the greatest performance of the movie .
every time he appears on the screen , the attitude of others is very uncomfortable and the creepy expressions he is able to create are effectively terrifying .
it would come as no surprise if hutchinson was nominated for an academy award as best supporting actor , not only because he did a wonderful job as wetmore , but also because he stole every scene he was in away from veteran oscar winner
tom hanks .
rockwell , an independent film veteran , plays his role as wild bill wharton to perfection .
as a prisoner who taunts and harasses the guards at all hours , he really gets under your skin and irritates you for having to watch him torture others .
this irritation he creates makes his performance so believable .
the last noteworthy performance belongs to duncan , as the enormous convicted killer john coffey who happens to hold the power of curing the ill .
duncan does a wonderful job playing a frightened child - like behemoth , very similar to lennie small in of mice and men .
his desire for love and the extinction of hate evokes the most compassion because it is very obvious that he is suffering for no just cause .
his pain creates pain for the viewer .
however , it takes over an hour for duncan to be introduced completely in the film .
the film opens with a ridiculous present day setting which contains a scene that jabs at " the jerry springer show .
"
the scene , containing one old man complaining about how all guests on the show are inbred and rednecks .
not only is this observation entirely pointless and out of place , but it is also hackneyed beyond all belief .
as the film flashes back to 1935 , graham greene is quickly executed without any introduction .
his death seems very rushed and without any knowledge of who he is , the scene is neither sad nor convincing .
greene is not even given a final word , like some of the other characters , and we do n't even see him walk the infamous green mile .
however , as the film begins to specifically introduce more characters , such as coffey and eduard delacroix ( michael jeter ) as well as the five prison guards , the film becomes more interesting .
the speed in " the green mile " is perfect .
if time was a matter of concern and the film was edited to the two hour mark , it would have been unsatisfactory because we would not be able to know the characters as they are or as they treat others .
the three hour running is perfect for plot development
and by the end of the film , a great amount of love or hate is attached to each character .
"
the green mile " is so good following the rough beginning , that when the pivotal moment at the very end finally comes , it is almost impossible not to feel some sort of sadness for every person in this scene .
fighting back tears was a difficult task that i barely succeeded in doing . if you survive the first third of " the green mile " sit back and enjoy the remainder for some priceless entertainment .

Ex Output:

P