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

[EX Q]: " be gentle , " urges natasha henstridge to matthew perry in " the whole nine yards .
"
" i have n't made love in five years .
"
" neither have i , " rebuts perry .
"
i 'm married !
"
if jonathan lynn 's latest comedy relied simply on jokes of that caliber -- and it certainly tries -- then it 'd be an innocuous if rather obvious little film . instead , its failings go much deeper .
first off , who has n't had enough of the tough wiseguy intimidates the timid wise guy genre ?
if you want to make a pretty penny or two in hollywood nowadays simply write a " comedy " which pairs a robert de niro / james caan / bruce willis type with a billy crystal / hugh grant / matthew perry type and wait for the royalties to roll in .
who 's next ?
jack nicholson and martin short ?
it certainly does n't have to be funny .
"
the whole nine yards " is not a particularly funny film , but it is borderline offensive
.
offensive in the way it continues a trend of poking fun at career criminals who would n't think twice about pushing your mother - in - law off the brooklyn bridge with her feet encased in concrete .
that might sound like a funny sight gag , but the problem is these films have long since lost sight of the fact that taking a human life is n't all that funny to begin with .
when the corpse is placed in a car , doused with gasoline , set ablaze and referred to as " barbecue , " it makes you wonder when all this playing killing for laughs is going to end .
"
the whole nine yards " is also offensive in so much as its three central female characters are portrayed as nothing more than sex objects .
rosanna arquette plays a slutty , chain - smoking french canadian who 's married to matthew perry 's none - too - successful dentist .
it 's an unflattering role made all the more so by the unflattering outfits -- and unflattering situations -- into which arquette is thrust .
then there 's natasha henstridge ( " species " i and ii ) who plays the well - to - do wife of contract killer bruce willis .
she gets involved with perry 's character when he comes to chicago hoping to negotiate a finder 's fee with mob boss
yanni gogolack ( kevin pollack , transposing his vs with his ws ) after willis ' jimmy the tulip tudeski moves in next door .
henstridge and perry 's characters hitting it off is about as likely as bruce and demi getting back together .
perry might have the charm but he does n't have the physical attributes of a traditional leading man , especially in close - up .
most objectified of the bunch is amanda peet , who turns in a sexually - ripe performance as perry 's dental assistant with , it transpires , questionable career goals .
peet 's gratuitous nude scene proves how low this movie will stoop to keep its audience from dropping off .
when " my cousin vinny " is the highpoint of a directorial career including such forgettable films as " clue , " " greedy , " and " sgt . bilko , " you have to wonder if lynn chose the wrong career path .
perry 's pratfalling goofiness coupled with willis ' likable hardness could have had some potential but with no script to work with , and a director who seems to be watching from the wings , their characters run out of gas quickly .
[EX A]: N

[EX Q]: the happy bastard 's quick movie review me tarzan . . .
you happy viewer .
for a minute there , i thought i was going to be groaning over the release of disney 's latest , another adaptation of a legend from the past .
( remember the pathetic pocahontas ? yikes ! )
but guess what- disney , a company that 's been on a roll lately with animated films
, strikes again with another wonderful tale that pleases the eyes as well as the inner kid in you .
the story is pretty basic- tarzan is left orphaned and a female gorilla who 's lost her young adopts him into her group . as he matures into a much older man , tarzan still wonders just why he 's so much different from the clan , and then arrives a hunter , a professor , and the professor 's lovely daughter , jane- who meets tarzan rather quickly after getting in trouble with a group of feisty babboons .
from there , tarzan faces tough choices-
should he stay with the ones that he grew up with or go join his own kind in england ?
the voicework here is pretty top - level .
tony goldwyn is very convincing as the ape man ; minnie driver adds a delectable touch to the already - beautiful jane ; nigel hawthorne makes for a pretty nasty hunter voice ; rosie o ' donnell keeps the laughs rolling as tarzan 's best ape friend terk ; and wayne " newman " knight has his moments as a panicky elephant .
the movie is superb throughout , mixing a great script with incredible computer - assisted visuals .
when tarzan tree - surfs ( a twist that was added on top of the same ol' vine swinging- and a great one , i might add ) , the camera twists and turns , allowing the trees all around to come to life vividly .
i could n't believe my eyes- disney has come a long way since starting in a ballroom for beauty and the beast .
and the music 's not half bad , either .
fortunately , there 's no ridiculous singing characters here , just a great set of songs by phil collins that perfectly fit the mood .
there 's some great action sequences here as well , including a wonderfully done chase between tarzan , jane , and the aforementioned babboons .
but , of course , it 's not all action-
there 's a message here as well that has to do with family .
this is easily one of disney 's best animated films of the decade
and it 's one i ca n't wait to put in my home library .
. .
that is , if my vcr still works in the year 2000 .
[EX A]: P

[EX Q]: contact ( pg )
there 's a moment late in robert zemeckis 's contact where i was reminded of why i started writing movie reviews in the first place .
we see a scientist , dressed in a silvery space suit , walking tentatively across a narrow walkway leading inside a compact , spherical space pod , unaware of what awaits when the ball literally drops .
anticipation , excitement , anxiety , fear -- the audience experiences it all the emotional tension right with the character , nervously , breathlessly eager to see what lies ahead .
it is this sense of discovery , the anticipation of which and its accompanying exhilaration , that makes this adaptation of the carl sagan novel such magical , captivating entertainment .
jodie foster stars as dr .
ellie arroway , a brilliant astronomer who dedicates her entire life to searching outer space for extraterrestrial radio signals .
and i mean life -- after losing her entire family when she was young , the only thing occupying ellie 's world is this quest to discover life beyond this earth .
after dealing with much skepticism on the part of government officials and wealthy financiers , ellie receives her vindication when she stumbles upon an incoming radio transmission from the distant star vega , which includes instructions on building an interstellar transport .
from this synopsis , contact does not sound too different to most films about alien contact , but there is a whole lot more to this intelligent film than the sci - fi hook .
the alien contact angle generates a great amount of suspense and awe , but perhaps more than anything else , contact is a character study of ellie , whose obsession with empirical , scientific evidence has erased all belief in a higher power .
the irony is that , while admitting to having no religious faith , she holds onto her belief in extraterrestrial life with such passion and conviction that it becomes , in a sense , a religion in its own right .
it would be easy for scripters james v .
hart and michael goldenberg , in trying to paint a positive image of the heroine , to champion her scientific beliefs over religious ones , but they wisely eschew easy answers , giving equal time to both sides , and in so doing depict ellie as not completely sane .
in the end , there is no right or wrong , nor is there one side that comes off more positive in the other , even slightly so -- there are just two very viable points of view , each with their own merits , each with their own faults .
the complex role of ellie is an actress 's dream , and foster , a virtual shoo - in for yet another best actress oscar nomination next year , more than rises to the challenge .
she conveys intelligence , determination , warmth , and , in a gutsy move , always on edge .
we root for ellie and feel for her , but we also feel at times that she goes too far .
contact is clearly foster 's vehicle , but others are given their chance to shine in smaller roles .
matthew mcconaughey , who receives outrageously high billing for his smallish role , holds his own as the religious counterpoint to ellie , spiritual scholar and government adviser palmer joss ( however , his main storyline , the tentative palmer - ellie romance , is the film 's weakest subplot ) .
john hurt is effectively creepy as s .
r .
hadden , the wealthy eccentric who provides ellie with her research funding . angela bassett continues to impress in her bit role as white house aide rachel constantine .
most memorable of all , though , are tom skerritt and james woods , who play rival scientist dr .
david drumlin and national security adviser michael litz , respectively ; both , especially skerritt , embody these asshole characters that the audience hissed just about every single one of their appearances .
zemeckis comes off of his three - year break in top shape .
always known as a director of effects - laden extravaganzas , it comes as no surprise that contact 's visual effects are quite stunning .
the central space journey is more than a little reminiscent of the close of 2001 : a space odyssey , but with more advanced technology at his disposal , zemeckis 's voyage is even trippier than stanley kubrick 's yet more wondrously pure . and zemeckis does n't resist the urge to use the always - interesting incorporate - actors - into - existing - film - footage effect , which is every bit as seamless here as it was in forrest gump .
effects , however , are confined to only a few scenes and clearly take a back seat to the drama , emotion , and pure wonder , which zemeckis proved to be quite adept at in gump .
it says a lot that , in a summer science fiction film such as this , it 's not so much the effects that stay with you as it is the drama and the issues that are raised .
the thought - provoking , two - hour - plus contact is a much - welcome change of pace from summer no - brainers , but the fact that it is a smart film does not mean that it also is n't entertaining .
for all the interesting questions it asks , the film is still what it 's being sold as-- " a journey to the heart of the universe . " and what a fascinating , unforgettable journey it is .
[EX A]:
P