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

Input: Consider Input: stars : armand assante ( mike hammer ) , barbara carrera ( dr . charlotte bennett ) , laurene landon ( velda ) , alan king ( charles kalecki ) , geoffrey lewis ( joe butler ) , paul sorvino ( detective pat chambers ) , judson scott ( charles hendricks ) , barry snider ( romero ) , julia barr ( norma childs ) / mpaa rating :
r / review : in the 1982 updating of mickey spillane 's 1947 novel " i , the jury , " hard - boiled detective mike hammer is a vietnam vet who drives a shiny bronze trans am , dresses like don johnson in " miami vice " with less pastels , and has sworn off alcohol .
however , he still smokes his lucky strikes , detests all forms of authority , and kills at a whim .
beyond that , the updated film retains little or no resemblance to the original pulpy page - turner by spillane , probably the most infamous and often reviled of all mystery writers .
the movie starts off with a bang : a howler of an opening credits sequence that is a cheap steal from the james bond series , complete with cheesy graphics and an overbearing jazz score by bill conti ( " rocky " ) .
after that , the movie and the book begin the same , with the murder of jack williams ( frederick downs ) , a one - armed detective and hammer 's best friend .
hammer declares that he will seek vengeance for jack 's death , and with the help of his devoted secretary , the blond and shapely velda ( laurene landon ) , and the alternately friendly / antagonistic police chief pat chambers ( paul sorvino ) , he is immediately on the killer 's trail .
here the movie splits completely from the book , and dives into a convoluted and improbable tale of government conspiracy and mind control tactics involving the mafia , the cia , one of hammer 's vietnam vet buddies , and a kinky sex clinic .
many of the same characters from the book appear in the movie , but they take on slightly different roles .
for instance , charles kalecki ( alan king ) , a numbers runner and narcotics dealer in the book , turns into a suave mob boss .
and , more importantly , hammer 's suspicious love interest , charlotte bennett ( barbara carrera ) , morphs from a run - of - the - mill psychiatrist into the coordinator and founder of the sex clinic .
"
i , the jury " is one of several cinematic renditions of spillane 's books ( including a 1953 version which was made in 3-d ) , but this film differs from those earlier versions in one major way :
it includes all of the sex and violence spillane wrote about that could never be given screen treatment due to hollywood 's production code .
although this takes the 1982 version of " i , the jury " closer to the core of the original subject matter , it is in this aspect that the film received the most criticism , because it took this new license to extremes that many argued surpassed what was in the book .
rest assured , the movie not only includes a great deal of nudity , but it is thoroughly violent , especially toward women .
it features one woman having her neck slashed , a set of twins forced to strip before being stabbed to death by a psychotic sexual deviant programmed by the cia ( judson scott ) , and another woman shot point - blank in the belly by hammer himself .
no one would deny that spillane 's writing has a definite misogynistic nature , but the movie seems to take it a step further by giving it such glorious screen treatment ; its constant equation of sex and violence , much of which is played with the intention of being erotic , is quite unsettling .
it 's no surprise that the movie , like the book , fades to black with a dead woman on the floor .
"
i , the jury " had a troubled production and was not well - supported by the studio that made it , which is one explanation why it did n't do well in theaters and many people have forgotten that it was ever made .
the script was written by larry cohen , who is best known for his creatively cheesy but nonetheless effective monster movies , like " it 's alive " ( 1974 ) and its two sequels , " q " ( 1981 ) , and " the stuff " ( 1985 ) .
cohen wrote the script thinking he was going to helm the project as well , but he was yanked from the director 's chair after only a week 's worth of shooting because he was already $ 100 , 000 over budget .
he was quickly replaced by richard t. heffron , who has worked for the last three decades on a handful of undistinguished movies and dozens of television projects .
heffron was obviously brought in not for his talent , but because he could make the movie rapidly and efficiently .
it shows in the final product .
cohen had personal interest in the updated version of hammer , but heffron has none .
he shot the movie quickly and clumsily , and although some scenes ring true , most of them are flat , trite , and invariably dull .
the movie features numerous car chases , shoot - outs , and stunts , but heffron 's background in television is the dominant tone ; despite the graphic violence and full - frontal nudity , " i , the jury , " takes on the air of a made - for - tv quickie , with no real punch or depth . but the problems in " i , the jury " run deeper than the technical .
the central fault in this updating is mike hammer , whose character was lost in the shuffle while updating from the fifties to the eighties .
because spillane wrote all his hammer mysteries in the first person , hammer 's character is central to the tale because all the events are filtered through his persona .
we never really get that impression in the movie -- there is no first - person voice - over narration and some scenes do n't have hammer in them at all .
consequently , a great deal of the texture of spillane 's storytelling is lost .
the period updating turns out to be a detrimentally bad idea because much of hammer 's moral code is thrown to the wind .
despite his characterization as a hard - nosed , violent , misogynistic killer , hammer always stuck fervently to his own moral code .
the title itself , " i , the jury , " refers to his anti - establishment notion of being his own law .
unlike private eyes who seek out the bad guys and then turn them over the police
, hammer both pursues the criminal and exacts the punishment .
in this way , he can be seen as " above the law , " but he still adheres strictly to her own personal code of conduct , his own morality .
the movie forgoes that aspect of his character , and hammer comes off not only as amoral in society 's terms , but in any terms , especially his own .
if anything , hammer always had his professionalism , but the movie does away with that in the first three minutes by showing him rolling in the sack with the wife of a client who had paid him to find out if that wife was being unfaithful .
maybe the scene was intended for laughs , but it only cheapens hammer 's character and is , by all accounts , a lousy way to start the movie .
the blame for hammer 's character ca n't be laid on assante 's shoulders , because despite some unnecessary marlon brandon - like mumbling , he delivers a fine performance .
spillane never once described hammer 's physical attributes in any
of the dozen books in which he appeared
, so any actor could conceivably portray him .
of course , because of the lack of written description , those who have read spillane 's books will have a strong personal notion of what hammer looks like , and therefore almost any screen incarnation will somehow fall short of expectations ( spillane , who played the character himself in 1963 's
" the girl hunters , " is generally considered the best of the film hammers ) .
the rest of actors are most un - noteworthy .
with the exceptions of alan king and paul sorvino , everyone who appeared in " i , the jury " were up - and - comers who basically went nowhere .
many of them ended up working in television ( like carrera , who had a short stint on " dallas " in the mid - eighties ) , which only adds to the made - for - tv atmosphere of the film .
maybe someday , someone will manage to get the right elements together and make an effective film rendition of a spillane book , but this is certainly not it .

Output: N


Input: Consider Input: i am a steven seagal fan .
i only say this now because " mufti splenetik " is n't my real name and because i probably need to explain why i went into this film expecting great things .
any proud seagal fan worth his beans will tell you that the seagal formula is something you can depend on .
seagal films can always be counted on for minimal dialogue , heaps of expendable baddies with extemely crunchable bones ( which we 'll always hear when seagal does his limb - twisting thing ) , rarely a female co - lead in sight ( unless it 's a real - life model - wife who has n't worked since weird science ) and , usually the worst possible titles you can imagine .
not to mention very straightforward plots , generally all - round bad dialogue and mr implacable leather - face himself in that same black outfit he 's been in since nico doing his " my hands are sharp , nimble knives " thing , seagal the stoic , sir petrified ponytail , duke of dull .
in the glimmer man , seagal breaks out of this formula : he gets a * sidekick *
, attempts to banter , and puts on a new vest .
he 's also put on quite a lot of weight .
small potatoes , you may say , a man should be able to accessorize and banter if he wants to , but damnit , if it ai n't broke , why fix it ?
( more on this disappointed person 's dashed expectations later ) .
as jack cole , seagal is a homicide detective with a questionable past .
while he and his partner ( played by keenen ivory wayans ) are investigating a series of ritual killings , cole himself becomes a suspect , especially when a background check run by campbell reveals practically nothing on cole .
it turns out that cole is a former trained government assassin ( you just ca n't trust these homicide detectives ) , someone whom victims used to catch just a glimpse of in the jungle before he pounced on them , and hence , well , you know , that " glimmer man " thing .
an increasingly fishy homicide investigation in the present soon leads to the gradual uncovering of a larger , more threatening conspiracy that involves a crooked businessman ( bob gunton ) , cole 's former cia boss ( brian cox ) and deals involving chemical weapons .
the glimmer man plot is pretty standard stuff , drawing ( as with his other films ) elements from the hotter films of the year ( eg , se7en ) .
it 's the other changes that disappoint .
for example , although there 's a fair amount of violence in this movie , there 's also the disastrous pairing of seagal with keenen ivory wayans , probably the best known of the wayans tribe ( how many are there , exactly ? ) from television 's " in living colour .
" wayans plays whiney straightman to seagal 's bead - adorned and brocade - draped cole , keeping up his " are you crazy " part of the dialogue with wasted zest .
as campbell , wayans confines himself to bemoaning his new partner 's eccentric habits , but the chemistry between the two is minimal , and seagal 's wooden comebacks make for painful watching .
a cook in under seige 2 , seagal is now a buddhist who speaks chinese and wears prayer beads and intricate silk jackets over his normal black ensemble .
he chants , refuses to fight unless truly provoked and introduces campbell to powdered deer penis to cure his allergies .
again , a benign ( if trite ) plot device except for the fact that these new character traits require seagal to speak more than usual .
heck , he has to deliver punchlines and carry a steady conversation with someone other than himself for a large part of the film .
is that a lot to ask of the seague ? too much .
seagal 's best characteristic used to be that he knew his purpose in this already complicated world of movies : to crunchily snap off bad guy appendages , and to do it silently , and alone .
not for seagal , the snappy one - liners of arnold and stallone , nor the attempts to show that he can act , much less think .
no kindergarten cop , no oscar , just simple , unadulterated deathblows .
that 's really how it must have started : like - minded fans who knew what they wanted streamed in to watch the seague do his thing , knowing that never in the seagal universe would they ever have to see him do anything else .
we trusted him .
we got to know him .
now , betrayal .
i do n't know if i can watch another seagal movie without that little niggling doubt that he 's going to try to be funny again .
i 'll try , but it wo n't be easy .
if you have n't watched the glimmer man yet ,
you might want to wait for the video to come out .
it 's easier to just fast forward the dialogue parts and linger on the action sequences .
after all , if we ca n't depend on our fantasies , what can we depend on ?
the flying inkpot rating system :
* wait for the tv2 broadcast .
*
* a little creaky , but still better than staying at home with gotcha !
*
* * pretty good , bring a friend .
*
*
* * amazing , potent stuff .
*
*
*
* * perfection .
see it twice .
mufti spelenetik is still a steven seagal fan .
everybody makes mistakes once in awhile .

Output: N


Input: Consider Input: those of you who frequently read my reviews are not likely to be surprised by the fact that i have not read victor hugo 's novel les miserables .
i do n't know if a lot of people have , though i imagine many are familiar with the popular musical based on the novel .
i have n't even seen that . going into this film , i had almost no knowledge of the story or its characters ( i even expected the film to be a musical ) .
walking away from it , i 'm kind of glad i had no prior experience with the material .
writer / director bille august 's film version is a straightforward , beautifully told film .
liam neeson stars as the miserable jean valjean ; in the beginning , he has just been released from a 19-year prison sentence .
he is allowed to stay in a convent by a kindly priest despite his rude and destructive behavior .
the priest 's words of wisdom influence him , and he makes a vow to change himself .
nine years later , we are informed that he is now the mayor of a town called vigo ; nobody knows his real name , and that he is wanted for skipping his parole nine years ago .
conflicts arise when inspector javert ( geoffrey rush ) is assigned to vigo .
valjean remembers javert as one of the prison guards who constantly beat him , and javert remembers jean to be a convict .
javert is hell - bent on upholding the law , and he does everything in his power to bring jean to justice .
along the way , valjean meets and falls in love with a peasant woman , fantine ( uma thurman ) , and vows to take care of her daughter , cosette ( played later by claire danes ) .
les miserables is visually a solid and often striking picture .
the production design by anna asp is authentic and vast , and the sets do n't look like sets ( they look like real towns and villages ) ; gabriella pescucci 's costumes are noticeably spectacular .
basil poledouris ' soundtrack is thick and usually well - placed ( though it does get a bit heavy at times ) .
many scenes in the film have a memorable photographic quality , such as the climax , which takes place next to a dark river in the grey obscurity of early evening .
augusts keeps the story simple ( which i hear is a good thing , since the novel is so complex ) and easy to follow .
he manages to develop the main characters and most of the subplots adequately .
i was also impressed that he did n't go overboard with flash and style , which is something so many directors seem to be doing to classic stories these days ( such as baz luhrmann 's vicious tragedy william shakespeare 's romeo + juliet ) .
this film feels solid and whole , and each scene has a certain amount of importance and vigor that keeps the audience interested .
liam neeson is terrific in the main role ; neeson is the kind of actor who does solemn desperation extremely well , and valjean is certainly a man who clearly fits that adjective .
thurman , in her small role , is very good , and proves that she has a lot of range and can perform in a very non - glamorous role such as this one .
rush is absolutely incredible as javert ; i do n't remember ever feeling so strongly about a villain as i do here ; he adds depth and complexity with subtle glances and nuances , and effortlessly makes each of his scenes intense .
i ca n't be as charitable for danes , however ; though i know she is a talented actress , here she tends to overact when it might have been better to underplay the character a bit .
les miserables is , as i 've said , a solid , intelligent motion picture .
my only complaint is that it feels a bit too easy , and perhaps too staged .
each scene is grand and huge , and exploding with poledouris ' score , but i did n't always want them to be .
for the most part , les miserables is not a subtle or deep picture .
it 's a good movie , and tells its story well , but august tends to hand - feed us themes and scenes that would have worked better
had they been more subtle .
however , in a film this exciting and well - produced , a few minor flaws are easily overlooked .


Output: P