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

Input: Consider Input: it 's a good thing most animated sci - fi movies come from japan , because " titan a. e. " is proof that hollywood does n't have a clue how to do it .
i do n't know what this film is supposed to be about .
from what i can tell it 's about a young man named kale who 's one of the last survivors of earth in the early 31st century who unknowingly possesses the key to saving and re - generating what is left of the human race .
that 's a fine premise for an action - packed sci - fi animated movie , but there 's no payoff .
the story takes the main characters all over the galaxy in their search for a legendary ship that the evil " dredge " aliens want to destroy for no apparent reason .
so in the process we get a lot of spaceship fights , fistfights , blaster fights and more double - crosses than you can shake a stick at .
there 's so much pointless sci - fi banter
it 's too much to take .
the galaxy here is a total rip - off of the " star wars " universe the creators do n't bother filling in the basic details which makes the story confusing , the characters unmotivated and superficial and the plot just plain boring .
despite the fantastic animation and special effects , it 's just not an interesting movie .

Output: N


Input: Consider Input: one of these days , i 'll make good on my promise never to rent another abel ferrara movie .
king of new york and body snatchers notwithstanding ( and
bad lieutenant is only fit for a single , emotive viewing ) ,
his exploitation flicks have fallen into a rut of hoary art - house trappings .
it 's a perfume - drenched , coke - addled visit to the seedy pornography shop , where beautiful models ( no , hookers -- no , courtesans ) usher you through the silk curtains .
ferrara 's only consistently smart move has been casting
christopher walken over and over again , since walken can make a good movie great and a loathsome movie durable whenever he 's onscreen .
his 8-minute scene in the addiction is the saving grace of that otherwise abysmal , unwatchable , and pretentious failure .
when he starts talking about his vampiric bowel movements , or questions whether lili taylor has ever read naked lunch , there 's a much - needed dose of humor in an otherwise terminally unfunny affair .
you know those gothic club kids who are too cool to smile and let you know they 're actually having fun ?
the addiction is that movie .
walken , sadly , does not appear in the blackout .
the central role of matty , a junkie film star whose lightning paced hollywood life among the beautiful people is inevitably leading to his destruction , is played by matthew modine ( who takes what he can get after cutthroat island ) .
much like the protagonists of michelangelo antonioni 's terminally bored cultural elite , matty is involved in a bitter pill " relationship " with high fashioned model annie ( at least i think she 's a model . )
matty 's lady is played by french actress b ? atrice dalle , arrested twice for cocaine possession during filming of the blackout -- not that you needed to know that , but it lends credence to the idea that ferrara 's entire oeuvre has been filmed in a fucking blackout .
no kidding .
requiem for a dream has nothing on the junkie presentations seen in ferrara 's movies and his controversial urban lifestyle .
matty and annie struggle over her decision to have an abortion without consulting him .
no doubt , he was off chasing the dragon .
in his despair , matty indulges in a chemical induced weekend of debauchery , tooling around the streets of miami with video filmmaker mickey wayne ( dennis hopper , in full " dirty ol' man " mold smacking models on the ass and telling them to spread their legs .
wider ! )
toward the end of the night , they pick up a teenage waitress also named annie ( sarah lassez ) , start shooting a hastily improvised sexual scene , then matty thankfully blacks out .
something happened that night which haunts him throughout the rest of the movie , and it 's exactly what you think it was .
suffice to say , there 's some confusion over whether he killed annie one or annie two , or anyone at all .
the blackout is typical ferrara :
no plot to speak of , plenty of raunch , and horribly vogue images of matthew modine downing a bottle of jack daniels and a beer while wrapping himself in a see - through curtain in his hotel room by the sea , by the sea , by the beautiful sea .
cinematographer ken kelsch finds inconsistent glory in alternating gorgeous painterly sunsets with docu - style sleaze ( and we 're back to dennis hopper leering at girls in bathing suits .
"
yeah ! ! !
yeah ! ! !
arrrghhh ! " says mr .
hopper .
dirty old sod . )
it 's compulsive viewing in a tacky sort of way , leading to a ridiculous climax where modine seizes control of his destiny .
how 's that for cryptic ?
never fear -- ferrara finds time for some female full frontal nudity to remind us what he 's all about .
i can picture it now .
" take off yer clothes , kid -- it 's essential to depict the inner maelstrom of my central protagonist , and you 're his visual
i
d .
you 're the soul , the heart , the bloodstream of the picture .
take it off !
take it all off ! ! !
ha ha ha !
" friggin ' vampire .
yeah , you , ferrara .
a final word about matthew modine : he 's actually a fine actor when properly cast , but there 's something too squeaky - clean in his demeanor .
he 's ideally suited for sarcastic men in tightly controlled situations , such as his private joker in full metal jacket or the time - bomb nebbish in short cuts ( who is every bit as superb as julianne moore in that famous scene , though no one seems to notice him ) .
[ he was in that scene ?
-ed . ]
here , he 's asked to let it all hang out , sporting a three - day stubble and oily bangs .
he throws around furniture like stanley kowalski , but it 's somehow lacking .
modine lacks the feral intensity of brando , entirely miscast in ferrara 's flesh fair .
better luck next time
, matt .
someday , you 'll be forgiven for cutthroat island , which was n't really your fault in the first place .
maybe atom egoyan will find a place for you somewhere , and all will once again be well in your world .

Output: N


Input: Consider Input: i am starting to write this review before going to see strawberry and chocolate , cuba 's oscar nominee for best foreign film , directed by tomas gutierrez alea ( who also directed the sometimes and in some circles critically acclaimed memorias del subdesarrollo-- " memories of underdevelopment " .
i saw memorias as part of a cuban cinema class back in the late ' 70s ; it merged the politics of the cuban revolution with mundane elements of the human condition .
i knew then that memorias was probably a state - sanctioned political missive , and now expect strawberry will follow suit .
fellow internetters , primarily in the newsgroup dedicated to cuba ( soc . culture .
cuba ) , have mentioned that strawberry is a harsh criticism of the revolution and its current state of affairs .
i have jumped to the conclusion that strawberry is nothing more than a veiled attempt at espousing the party line -- it probably looks like political criticism , but it ai n't so .
having some first hand and extensive anecdotal knowledge of castro 's repressiveness , i ca n't conceive of his tolerating honest and adversarial criticism of the revolution , and i ca n't imagine his letting anyone even suggest his failure as a leader of a failed movement .
as kids say these days , duh ! , the revolution 's current state needs no criticism ; its physical and spiritual crumbling is self evident .
the proper questions to put relate to castro 's legitimacy .
i bet the film takes castro 's power for granted , and that this or any other movie , produced under cuba 's state control , can not question his right to run cuba 's political show ( ongoing now for more than 36 years ) .
that 's why i just ca n't believe strawberry is an honest criticism of the regime .
let 's see what happens after the room goes dark and the screen lights up .
i saw the film -- twice .
i was right ; castro remained intact .
strawberry negotiates the relationship between a young " dialectic materialist , " as he describes himself , and a homosexual photographer ( diego ) in 1979 cuba .
the young man ( david ) is the son of peasants ; a symbol of the revolution 's reason for being .
grateful to the revolution for the opportunity to receive a university education , he studies political science instead of literature , his avocation , because he perceives it is his duty .
therein lies a likely unintended irony , since cuba has no need for political theoreticians .
cuba 's government is castro .
diego 's lifestyle is the antithesis of revolutionary life .
he enjoys the finer things -- tea , opera , art .
he does not do " voluntary work " for the revolution .
his small apartment is a sensual oasis .
the moniker " bourgeois " figuratively hangs over his head during the early parts of the movie .
however , he is a " revolucionario " in his own way .
the supporting roles are filled by : an aging busybody with a heart of gold and a troubled psyche ; david 's roommate , who rally takes the communist party line to its expected extreme ;
david 's ex - girlfriend , who dumped him for another guy , yet wants to bed him before she leaves for italy with her husband ; german , a gay sculptor whose work diego is attempting to exhibit , and who strikes a faustian pact with the government .
gutierrez alea and co - director
juan carlos tabio
do a fine job at almost showing that homosexuals can be revolutionaries too .
heck , towards the end of the film you begin to think the guy deserves a medal for his patriotic fervor .
he really loves the revolution ( as supposedly does everybody else in cuba ) and wants to make it better by exposing and correcting some of its flaws .
real criticism is missing though .
this movie is political window dressing .
luis aguilar leon 's op .
ed .
piece on fresa in the miami herald ( 10 march 1995 , at 21a ) did not color my judgment ; it presaged my intuition .
aguilar leon expressed my sentiment about this film 's political angle best : like many artistic manifestations in cuba , strawberry and chocolate sprang from a totally manipulated environment .
as art critic ivan de la nuez well states in the latest issue of the magazine postmodern notes , the silenced artists are those who refuse to accept " the charade in which artists can provoke up to a point , while the institutions legitimize themselves by forbidding them to go beyond that point .
" although terrible propaganda , this is otherwise a fine film .


Output: P