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

[EX Q]: in the opening shot of midnight cowboy , we see a close - up of a blank movie screen at a drive - in .
we hear in the soundtrack human cries and the stomping of horses ' hooves .
without an image projected onto the screen , the audience unerringly identifies the familiar sound of cowboys chasing indians and can spontaneously fill in the blank screen with images of old westerns in our mind 's eye .
even without having seen a cowboys and indians movie , somehow the cliched images of them seem to have found their way into our mental schema .
but do cowboys really exist , or
are they merely hollywood images personified by john wayne and gary cooper ?
exploring this theme , director john schlesinger uses the idea of the cowboy as a metaphor for the american dream , an equally cliched yet ambiguous concept .
is the ease at which salvation and success can be attained in america a hallmark of its experience or an urban legend ?
midnight cowboy suggests that the american dream , like image of the cowboy , is merely a myth .
as joe buck migrates from place to place , he finds neither redemption nor reward in his attempt to create a life for himself , only further degeneration .
during the opening credits , joe walks past an abandoned theater whose decrepit marquee reads ` john wayne : the alamo . '
as joe is on the bus listening to a radio talk show , a lady on the air describes her ideal man as ` gary cooper ?
but he 's dead . '
a troubled expression comes across joe 's face , as he wonders where have all the cowboys gone .
having adopted the image of a cowboy since youth , joe now finds himself deserted by the persona he tried to embody .
joe 's persistence in playing the act of the cowboy serves as an analogue to his american dream .
he romanticizes about making it in the big city , but his dreams will desert him as he is forced to compromise his ideals for sustenance .
by the end of midnight cowboy , joe buck loses everything and gains nothing .
just as the audience can picture cowboys chasing indians on a blank screen , we can also conjure up scenes from pretty woman as paradigms of american redemption and success .
but how realistic are these ideals ?
joe had raped and been raped in texas .
the scars of his troubled past prompt him to migrate to new york , but he does not know that his aspirations to be a cowboy hero will fail him there just as they had in texas .
alongside the dream of success is the dream of salvation .
the ability to pack up one 's belongings and start anew seems to be an exclusive american convention .
schlesinger provides us with strong hints as to joe 's abusive and abused past with flashbacks of improper relationships with crazy anne and granny .
we understand that joe adopts the fa ?
ade of a cowboy , a symbol of virility and gallantry , as an attempt to neutralize his shame .
he runs from his past only to be sexually defiled this time by his homosexual experiences in new york .
in the scene at the diner which foreshadows joe 's encounter with the gay student , joe buck spills ketchup on himself .
standing up , we see the ketchup has made a red stain running from the crotch of his pants down his thigh .
schlesinger visually depicts the degeneration of joe 's virility by eliciting an image of bleeding genitals , signifying emasculation .
beyond the symbol of castration , the scene may also connote the bleeding of a virgin 's first sexual encounter , a reference to joe 's first homosexual liaison .
the fact that the idea of a bleeding virgin is relegated only to females furthers the imagery of joe 's emasculation .
it is ironic that joe has trouble prospecting for female clients , but effortlessly attracts men .
joe believes his broncobuster getup is emblematic of his masculinity ; new yorkers see his ensemble as camp and ` faggot stuff . '
there are two predominant images of new york .
the first is that new york is the rich , cosmopolitan city where hope and opportunity are symbolized by the tall skyscrapers and the statue of liberty .
the other new york is travis bickle 's new york , a seedy , corruptive hell on earth .
joe envisions new york as the former , but is presented with the latter .
mirroring the irony in which joe envisions his cowboy attire as masculine , he mistakenly buys into the fable that new york is filled with lonely women neglected by gay men .
joe thinks he is performing a great service for new york , but the city rapes him of his pride and possessions .
the people steal joe 's money , the landlord confiscates his luggage , and the homosexuals rob him of his dignity .
what has become of joe 's american dream ?
schlesinger responds to this question with the scene at the party .
joe gets invited to a shindig of sorts and at the gathering is exposed to a dizzying array of food , drugs , and sex .
at the party , all of joe and ratzo 's desires are made flesh ; joe flirts successfully with women and ratzo loads up on free salami .
contrasting joe 's daily struggles , shots of warhol 's crew display wanton indulgence .
there is an irreverence in the partygoers ' attitude ; we see a shot of a woman kowtowing to nothing in particular , orgies breaking out in the periphery , and drugs passed around like party favors .
the party makes a mockery of joe ' s ideals .
joe believed that hard work and persistence were the elements for success in america ; scenes of the party and his rendezvous with shirley suggest that it is the idle who profit from joe 's toils .
the american dream , schlesinger suggests , is merely a proletarian fantasy , for those who are content no longer dream , but become indolent .
as joe heads to miami , all that was significant of the cowboy image has left him .
his masculinity is compromised and his morality is relinquished .
for joe , nothing is left of the cowboy hero and commensurately , he surrenders the identity .
tossing his boots into the garbage , he returns to the bus for the last leg of his journey to miami .
the final shot of midnight cowboy shows joe inside the bus , more introspective , taking only a few glances outside the window .
instead of the frequent pov shots of joe excitedly looking out of the bus on his way to new york , schlesinger sets up this final shot from the exterior of the bus looking in through the window at joe .
reflections of the palm trees ratzo so raved about run across the bus ' window with joe hardly taking notice .
the scenery of miami no longer exacts the same excitement from joe as before .
the world seems smaller to joe now ; the termination of his journey coincides with the termination of his american dream .
no longer does joe aspire to be the enterprising gigolo ; he resolves to return to a normal job and resign to basic means .
midnight cowboy presents two familiar incarnations of the american dream .
there is the frontier fantasy that if you are brave enough to repel a few indians , you can set up a ranch out west and raise a beautiful family .
then there is the jay gatsby dream that a man of humble stock , with perseverance , can make a fortune in the big city .
joe 's attempt to realize these dreams robs him of his innocence in texas and morality in new york .
during his search for an intangible paradise , joe ends up raping a girl and killing a man .
an allegory of chasing the promise of the american dream , joe
buck 's progressive
moral atrophy is a warning against the pursuit of illusory icons .
[EX A]: P

[EX Q]: i still ca n't figure out why people went in droves to see this movie .
now before you go assuming i 'm some sort of high brow snob , who ca n't appreciate a little dumb humor , let me say that i love cheap humor .
i thought there 's something about mary was one of the funniest films that i have ever seen and it was certainly one of the best films of 1998 .
low brow adolescent humor can be a lot of fun , the problem with the waterboy is that it is just low brow and adolescent , there is no humor component .
i wanted to like the waterboy , i really did .
i think i only laughed maybe 2 or 3 times throughout the entire movie .
actually , i smiled a couple of more times on top of that .
not a great record for a 90-minute film .
the problem with the waterboy is the same as most other adam sandler movies .
those responsible for this mess seem to think that the sheer fact that sandler walks around using a goofy voice and playing dumb the entire movie is a substitute for actual funny material .
nothing could be further from the truth , as matter of fact , sandler 's idiot voice started to get on my nerves at points in this film .
it 's really a shame too , because this film had the potential to be very funny .
i personally believe that sandler is probably a very talented comedian , it 's just that so far he has n't been able to find the right film to showcase his talents .
if his only talent is making goofy voices and playing morons , my guess is that his career in the movies will go down the same road as the vast majority of the former stars of saturday night live .
most of whom are now happily no longer in the entertainment industry .
sandler plays a 31-year - old , somewhat mentally challenged , waterboy for a college football team .
the team 's somewhat mentally disturbed coach ( henry winkler ) realizes that his waterboy has a great deal of pent - up rage , which , if harnessed properly , would make him a force to be reckoned with on the football field .
you can figure out the rest from here .
sandler joins the team and this once lowly waterboy becomes a football star .
as i said , the film had a great deal of potential .
the idea was a decent one , but the main potential of this movie is a result of the cast .
all of whom are very good , just hamstrung by really , really , lousy material .
even sandler , annoying goofy voice and all , has enough charisma and natural comedic ability to overcome some of his bad material .
even as unfunny as his character is , i still found myself rooting for him throughout the film .
but it is the supporting cast that i feel most badly about .
if their material had been just a bit better , this film could have been such a funny movie .
fairuza balk plays sandler 's leather - wearing biker - chick love interest and does a great job playing sleazy and sexy at the same time .
winkler is great as the coach who uses a " coaching for dummies " -style book to help him get through games .
the real standout though , is kathy bates .
even with some of the worst material of her career to deal with , she is still a treat to watch in her role as sandler 's overprotective and overbearing mama .
even with the performances of bates and winkler , there is absolutely no way i would recommend this movie .
although i get the distinct impression that without them , this film would have ranked in negative numbers for me .
which is sad , because i ca n't really put my finger on a particular element of the movie and single it out as the cause of the disaster that it became .
it 's obvious that those involved , specifically the actors , tried very hard to make what they thought was going to be a funny movie .
it 's just too bad that 99 percent of all of the jokes fell flat .
[EX A]: N

[EX Q]: i had been looking forward to this film since i heard about it early last year , when matthew perry had just signed on .
i 'm big fan of perry 's subtle sense of humor , and in addition , i think chris farley 's on - edge , extreme acting was a riot .
so naturally , when the trailer for " almost heroes " hit theaters , i almost jumped up and down .
a soda in hand , the lights dimming , i was ready to be blown away by farley 's final starring role and what was supposed to be matthew perry 's big breakthrough .
i was ready to be just amazed ; for this to be among farley 's best , in spite of david spade 's absence .
i was ready to be laughing my head off the minute the credits ran .
sadly , none of this came to pass .
the humor is spotty at best , with good moments and laughable one - liners few and far between .
perry and farley have no chemistry
; the role that perry was cast in seems obviously written for spade , for it 's his type of humor , and not at all what perry is associated with .
and the movie tries to be smart , a subject best left alone when it 's a farley flick .
the movie is a major dissapointment , with only a few scenes worth a first look , let alone a second .
perry delivers not one humorous line the whole movie , and not surprisingly
; the only reason the movie made the top ten grossing list opening week was because it was advertised with farley .
and farley 's classic humor is widespread , too .
almost heroes almost works , but misses the wagon - train by quite a longshot .
guys , let 's leave the exploring to lewis and clark , huh ?
stick to " tommy boy " , and we 'll all be " friends " .
[EX A]:
N