In this task, you are given product reviews about dvds. The goal is to classify the review as "POS" if the overall sentiment of the review is positive(the reviewer is satisfied) or as "NEG" if the overall sentiment of the review is negative(the reviewer is not satisfied).

Ex Input:
2 Star Dud . After a man is caught cheating in a poker game a lynch party is formed and the man is murdered.  Soon after the murderers begin dying violent and mysterious deaths.     Dean Martin plays a ramblin' gambler in FIVE CARD STUD, a movie that probably didn't, but certainly could have, pounded the fatal nail into the traditional western before handing the franchise over to the Italians.  Although it sells itself as a mystery/western - who's killing all these gambling varmints, anyhow? - a five-second study of the movie's poster will pretty much shuffle out who's the good guy, who's the bad guy, and who's going to ride into the sunset with Inger Stevens.       I watched this movie the first time years and years ago, back in the knee-britches days.  It's possible some of synapses fired and connected and I somehow, after a generation plus, remembered how the plot - and I use that term loosely - ran.  I doubt it, though.  FIVE CARD STUD doesn't bother itself with keeping an edge to the mystery.  Robert Mitchum plays a gun-toting preacher who opens a church soon after the lynching occurs, Roddy McDowell is an angry young man with a chip on his shoulder.  Katherine Justice plays the shapely tomboy sister of McDowell and Inger Stevens is wasted, again, as a hair-cutting floozie.  Both women, of course, have lips puckered for the six-shootin' gambling man Martin.     This one was pretty excruciating, and it's really tempting to blame it all on the bored, and boring, Martin.  That's probably not fair, though.  The script is murky, the dialogue laughable (at the wrong times,) and, like I said, the mystery is never all that much of a mystery.  Martin, like Mitchum, was best in movies that let him play it laid-back and coolly bemused.  He needs manic energy to react to - think Shirley MacLaine, a young Sally Fields, or even Jerry Lewis.  He doesn't have the chops to carry a movie without someone like that, though.  Mitchum could, but the movie doesn't put him at the center.  It wouldn't matter anyway, because the only hope for this trite oater would be razing the story and starting over.  About the only fun this one provides - besides a scene with Mitchum and Yaphet Kotto near the end - is trying to decide who looks more bored, Martin or Mitchum.  My money's on Mitchum, but Martin gives him a go at it.  A waste of a good cast, and, save for a scene or two, a waste of a viewer's time.

Ex Output:
NEG


Ex Input:
A  Big Disappointment . After reading the 5 Star review on this DVD I purchased it hoping that if it even came close to this recommendation I would be overjoyed. Anyone if even faintly familier with classical piano has heard of Rubinstein who is certainly considered one of the greatest pianists of the 20th century. Unfortunately he is not one of the great actors of the 20th century and this staged production done,I'm guessing for TV or the schoolroom,is truly pathetic. The film is dark and grainey and the fidelity is awful.    I know this was made in 1953 so what should I expect? Better than this.    There are some wonderful classical performances on DVD with supberb audio and video so maybe I'm spoiled. If your looking for a great recording of Rubinstein buy the Phillips Great Pianists of the 20th century 2 CD set. You won't be disappointed.

Ex Output:
NEG


Ex Input:
Classic . Its setting and subject matter were somewhat grim to put it mildly, but that didn't stop Trainspotting from becoming one of the top movies of the nineties, and having just watched it this morning I can safely state that it holds up well to this day.  While I haven't read the Irvine Welsh novel on which this movie is based, I have read some of his other work, and the movie is a perfect distillation of his storytelling style-rapid-fire, filled with bawdy set pieces, characters living on the edge of acceptable society, and lots and lots of swears.  It's also the kind of violent, genre-defying, and pop culture reference-laden movie, complete with way-cool soundtrack, that emerged with such force in the nineties and spawned so many imitations in this decade.  For my money at least, this movie is a much more entertaining and convincing look at the world of heroin users than the interesting, but annoyingly depressing and pedantic, Requiem for a Dream, which came out a few years later to almost hyperbolic praise.  Trainspotting is a blunt, unapologetic look a life most of us can scarcely imagine, delivered with a combination of hilarity and horror that effortlessly intertwines these two extremes.  It doesn't shrink from depicting the damage caused by heroin addiction, but it doesn't downplay all the fun of it either, which is what lends it so much of its gritty believability.     Trainspotting also marked the arrival on the international scene of director Danny Boyle, whose manic visual style would later serve him well on the slightly-less-brilliant 28 Days Later.  Perhaps most impressively, it manages to contain one of my all-time top ten movie lines ("Who needs reasons when you've got heroin?"), my favorite nickname ever, fictional or otherwise ("We called him Mother Superior on account of the length of his habit"-brilliant), and more "Oh my God, did I just see that?" images than you'll find in fifty Hollywood blockbusters.  In Boyle's hands the crazy imagery practically flies off the screen, be it human waste flying from a sheet across a room, the movie's protagonist climbing into Scotland's filthiest toilet to retrieve something he lost, or the hallucinatory, nightmarish haze of a cold-turkey withdrawal.  The unrestrained depictions of sex, nudity, violence, drug use, and bodily functions make this a movie not to be viewed by the squeamish, but they perfectly suit its unflinching examination of the sordid goings-on in one country's drug-laden urban culture.      The action is filtered through the point of view of the movie's narrator, Mark Renton, a cynical but insightful twentysomething travelling through a nihilistic culture of nightclubs and drug dens without many concerns beyond getting his next fix because, well, all other concerns seem petty and inconsequential by comparison.  Although I don't use drugs (well, the ones arbitrarily declared illegal anyway), it's not exactly hard to understand Renton's reasons-in a world as numbing as the one that surrounds him, the ephemeral rush of a heroin high is more tangible and true than most of what people use to distract themselves from their unfulfilling lives.  Really, that's what the movie's about-the relentless pursuit of that elusive and nebulous concept known as happiness.  Renton's not that bad a guy; he mostly just wants to score some drugs and sex and listen to some Iggy Pop, and if his lifestyle causes anyone else (i.e., his parents) to suffer, well, that's just an unfortunate byproduct.  Besides, it's not like he's missing that much: the Scotland of Trainspotting is a rather depressing land of dingy, Detroit-esque post-industrial decay, and even the natural beauty of the local highlands isn't enough to overcome the cynicism that's overtaken Renton and most of his friends.  Viewed against this backdrop, it's easy to ask whether the straight life is even worth it.    Although Ewan MacGregor plays Renton in career-making fashion (too bad he spent all that time on those mediocre Star Wars prequels), Robert Carlyle delivers the most immediately enjoyable performance as the menacing Begbie, an unhinged, beer-swilling psychopath who looks at heroin users with contempt but has no problem cutting a swath of destruction through any bar where someone crosses him, intentionally or not.  Even though (or perhaps because) he's so violent and unpredictable, Begbie gives the movie a sort of bizarre comic relief through the sheer force of his twisted personality alone.  Even though I wouldn't get within fifty feet of the guy, I couldn't help but enjoy watching him, especially with Carlyle turning in such a likably maniacal performance.      Besides, in addition to what I've written above, how can you not like a movie that features a shot of a dead baby crawling along a ceiling and rotating its head 180 degrees?  If that doesn't scream fun for the whole family, I don't know what does

Ex Output:

POS