In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

Ex Input:
Review: Loony Tunes have ventured (at least) twice into the future. The first time was with the brilliantly funny "Duck Dodgers". The latter time was with this  um  effort. "Loonatics Unleashed" isn't without merit, and might be considered a good product were it not that it isn't up to Warner Brothers quality. WB cartoons are noted for their cheeky humor, appealing at least as much to adults as to children. These pedestrian superhero episodes, on the other hand, cannot fail to convince adults to pass them up.The premise of the series is that 6 ordinary individuals (2 bunnies, a Tasmanian devil, a duck, a roadrunner, and a coyote) live on the "city-planet" of Acmetropolis and acquire super powers when a meteor strikes the planet in 2772. What's confusing is that the titles section features these individuals with a count-up to 2772 from the 21st Century. Cute, but frelling stupid.In each episode, the super sextet  amid mildly amusing but essentially banal banter  fight various super villains. For the most part, these are types that appear in every mediocre superhero adventure series and even some of the better ones. Like many mediocre superhero series, this one takes its villains far too seriously for the context. And of course these guys are the only characters that laugh  the usual evil laugh, of course. Why is it that villains in predictable superhero adventures always  ALWAYS  laugh evilly at every opportunity? Animated material of this sort seems to leave laughter exclusively in the province of villains and (occasionally) their henchpeople and/or henchthings.In point of fact, the makers of this series missed their best bets right from the get-go. The superpowers of the characters are sometimes based on their previous normal abilities, but sometimes not. The problem here is that we don't see enough WB looniness. Lexi and Ace have fairly ordinary biologically generated energy weapons and have virtually no personality traits one could describe as "Bugs-like". What we have here is basically the silly and drekish "Teen Titans", including its overly "modern" animation "look", but with animals. Feh.The other misstep by the program's creators is (or are) the villains. As noted before, these are not terribly imaginative and do the evil-laugh bit excessively. Amazingly, the writers totally missed the obvious technique of making villains from stock WB characters as well as the protagonists. Adding to the fun could have been, say, Jupiter Sam  as well as The Fudd, still hunting wabbits  as well as Tech E. Coyote converted into a really neurotic villain  and so on. Ah, the sadness of missed opportunities.Sadly, this whole production has gone into too much overtime (that is, a 2nd season). Nevertheless, we can rejoice that there's something new out there for the 14-going-on-9 crowd. The rest of us can hope for a 3rd season of Duck Dodgers. Question: is it a positive review?

Ex Output:
no


Ex Input:
Review: If there was a scale below 1, it would get a -10, following in the footsteps of Godspell. The acting (if there was such a thing) was atrocious, the plot in shambles. And Rene Russo was sickeningly sweet in her role, enough to make a person retch. Ten thumbs down for a dumb movie. Saving grace: kudos for era costuming. Question: is it a negative review?

Ex Output:
yes


Ex Input:
Review: I'm a pretty old dude, old enough to remember the taste of Oreos and Coke as they were 50-55 years ago, when every taste for a kid was fresh. I wish I have somehow set some aside then is some magical suspended locker, so that I could taste those things today. This magical locker might even have adjusted the fabric of the food to account for how I've drifted, physically and otherwise, a sort of dynamic chemistry of expectations. Over the half century, they would have had to adjust quite a bit, because you see I would have known that I set them aside. Eating one now would be a celebration of self and past, and story, and sense that would almost make the intervening years an anticipated reward.I didn't have enough sense to do that with original Coke. And I couldn't have invented one of those magical psychic lockers  not then. But I did something almost as good. In the seventies, I really tuned into Roman Polanski. He was a strange and exotic pleasure  you know, movies smuggled out of the Soviet block. Movies so sensitive to beauty that you cry for weeks afterward. Movies that make you want to live with Polish women, one, and then deciding that they would be the last to get it.Here's what I did. I took what I knew would be my favorite Polanski movie and set it aside. I did not watch it. I deferred until I thought I would be big enough to deserve it. Over the years, I would test myself, my ability to surround beauty and delineate it without occupying it. There probably are few Poles who have worked at this, practicing to deserve Chopin. Working to deserve womanness when I see it. Trying to get the inners from the edges.Recently, I achieved something like assurance that it was time to pull this out. I already knew that I was already past the time when this would work optimally, because I had already seen and understood "9th Gate."If you do not know this, it is about a man who innocently rents a room in which the previous tenant (about whom the story is named) jumped out the window, to die later after this man (played by Polanski) visits. What happens is that time folds and he becomes this woman. We are fooled into believing that he is merely mad. But the way we follow him, he is not. He merely has flashes that the world is normal, and that the surrounding people are not part of a coven warping his reality.The story hardly matters. What matters is how Polanksi shapes this thing, both in the way he inhabits the eye that only makes edges and in inhabiting the body that only consists of confused flesh. The two never meet. There is a dissonance that may haunt me for the next 30 years. Its the idea about and inside and an outside with no edges at all  at all except a redhead wig.I know of no one else that could do this, this sketch that remains a sketch, this horror that remains natural.To understand the genius of this, you have to know one of the greatest films ever made; "Rear Window." The genius of that film is the post-noir notion that the camera shapes the world; that the viewer creates the story. What Roman does is take this movie and turn it inside out. In Rear Window, the idea was that the on-screen viewer (Jimmy Stewart) was the anchor and everything else was fiction, woven as we watched. Here, the on screen apartment dweller is the filmmaker. We know this. We know that everything we see is true because he is the narrator. We know it is true that bodies shift identity, that times shift, that causality is plastic. We know that the narrator will kill us. We know that the narrator will leave us in a perpetual horror, on that edge that he imputes but never shows us and lets us imagine. Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this. Question: is it a positive review?

Ex Output:

yes