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

[EX Q]: in a flashback , the teenage girl in the eccentric family in the canadian film , the hanging garden , tells her senile grandmother that she is going to a school dance .
horrified , the grandmother wants to know if her granddaughter knows " the rule of 6 .
" if you do n't break off a kiss by the count of 6 , then you committed a sin with the boy .
and most of all , the grandmother wants to know if she has " protection ?
"
she must carry a rosary in her pocket at all times .
the richly acted film is written and directed by thom fitzgerald in a quirky but loving style .
although some may refer to the film as yet another dysfunctional family picture , that moniker misses the mark .
yes , every member of the household has their own special problems , but the writer did n't choose to name so many characters for various flowers by accident .
this delightful little picture mixes love , tragedy and pathos , resulting in a hopeful and almost magical concoction .
during the opening credits we observe the boy , sweet william , at the center of the story .
first , he 's an average sized young lad who is slapped off - screen by his father .
next , he 's 300 pound teenager , played with hopelessness and depression by troy veinotte .
when the opening credits end , we cut to 10 years later .
william is now an average - sized , reasonably happy adult , played with love and compassion by chris leavins .
william has returned after 10 years absence to attend the marriage of his free - spirited and foul - mouthed sister rosemary to his first childhood lover , fletcher ( joe s .
keller ) .
kerry fox from an angel at my table and shallow grave plays rosemary with a compelling joy .
nicole burnell , who gave such a devastating performance in the sweet hereafter , plays the teenage rosemary .
the father of the family , whiskey mac ( peter macneill ) , is an alcoholic autocrat who is more obnoxious than harmful .
his wife , iris ( seana mckenna ) , says that she would have left him years ago to at least go to some place warm were it not for her lack of money and her obligations to the kids . rounding out the family is christine dunsworth as nine - year - old violet , the sister whom william meets for the first time .
as the exuberant irish music fills the air at the wedding in the family home , william wanders off to try on one of his old coats , which causes him to laugh at the size of his former self .
the director manages to stage simple scenes in wonderfully imaginative ways .
he takes a common wedding dress train and uses it to set up scenes in fresh and fascinating ways .
rosmary 's trip to the bathroom after drinking too much beer is beautifully orchestrated , and kerry fox is at her hilarious best trying to cope with the long train in a small bath , all while talking to her brother . as much as anything , the film is a series of character sketches .
in one of the strongest we watch william in a flashback as he has his first sexual encounter , a homosexual one . although he is perfectly happy liking the same sex , his mother is aghast .
a woman friend of hers suggests she take william to a local housewife , dusty miller ( martha irving ) , who , for a fee , will have heterosexual sex with william .
with absolute finesse the director crafts a subtle scene that manages to yield significant emotional punch without being sensational .
dusty , after asking iris to watch her daughter , takes william and gently introduces him to the joys of sex with the opposite sex .
all of this notwithstanding
, he still prefers males .
the film is at its most poignant in several sequences in which the grown william comes face - to - face with himself when younger .
this causes his ugly old memories to be reignited .
in the most devastating , he has to come to grips with his former self who was so overwhelmed with the stress that he tried to hang himself .
even here , the director touches your heart without ever letting the story dissolve into anything approaching a tearjerker .
the ultimate result is an uplifting story that has more hope that one would ever expect from the outline of its plot .
the hanging garden runs 1 : 31 .
it is rated r for strong sexuality , language , violence and some teen drug use and would be acceptable for teenagers only if they are quite old and mature .
[EX A]: P

[EX Q]: weighed down by tired plot lines and spielberg 's reliance on formulas ,
_ saving private ryan _ is a mediocre film which nods in the direction of realism before descending into an abyss of cliches .
there ought to be a law against steven spielberg making movies about truly serious topics .
spielberg 's greatest strength as a director is the polished , formulaic way in which every aspect of the film falls carefully into place to make a perfect story .
but for a topic of such weight as combat in the second world war ( or the holocaust ) this technique backfires , for it creates coherent , comprehensible and redemptive narratives out of events whose size , complexity and evil are utterly beyond the reach of human ken .
in this way spielberg trivializes the awesome evil of the stories he films .
_ saving private ryan _ tells the story of eight men who have been detailed on a " pr mission " to pull a young man , ryan ( whose three other brothers were just killed in fighting elsewhere ) out of combat on the normandy front just after d - day .
ryan is a paratrooper who dropped behind enemy lines the night before the landings and became separated from his fellow soldiers .
the search for him takes the eight soldiers across the hellish terrain of world war ii combat in france .
there 's no denying spielberg came within shouting distance of making a great war movie .
the equipment , uniforms and weapons are superbly done .
the opening sequence , in which captain miller ( tom hanks ) leads his men onto omaha beach , is quite possibly the closest anyone has come to actually capturing the unendurably savage intensity of modern infantry combat .
another pleasing aspect of the film is spielberg 's brave depiction of scenes largely unknown to american audiences , such as the shooting of prisoners by allied soldiers , the banality of death in combat , the routine foul - ups in the execution of the war , and the cynicism of the troops .
the technical side of the film is peerless , as always .
the camera work is magnificent , the pacing perfect , the sets convincing , the directing without flaw .
hanks will no doubt be nominated for an oscar for his performance , which was utterly convincing , and the supporting cast was excellent , though ted danson seems a mite out of place as a paratroop colonel .
yet the attempt at a realistic depiction of combat falls flat on its face because realism is not something which can be represented by single instances or events .
it has to thoroughly permeate the context at every level of the film , or the story fails to convince .
throughout the movie spielberg repeatedly showed only single examples of the grotesque wounds produced by modern mechanized devices ( exception : men are shown burning to death with relative frequency ) .
for example , we see only one man with guts spilled out on the ground .
here and there men lose limbs ; in one scene miller is pulling a man to safety , there 's an explosion , and miller looks back to see he is only pulling half a man .
but the rest of the corpses are remarkably intact .
there are no shoes with only feet in them , no limbs scattered everywhere , no torsos without limbs , no charred corpses , and most importantly , all corpses have heads ( in fairness there are a smattering of wicked head wounds ) .
the relentless dehumanization of the war , in which even corpses failed to retain any indentity , is soft - pedaled in the film .
ultimately , _ saving private ryan _ bows to both hollywood convention and the unwritten rules of wartime photography in its portrayal of wounds and death in war .
rather than saying _ saving private ryan _ is " realistic , " it would be better to describe it as " having realistic moments .
" another aspect of the " hollywoodization " of the war is the lack of realistic dialogue and in particular , the lack of swearing .
anyone familiar with the literature on the behavior of the men during the war , such as fussell 's superb _ wartime : understanding and behavior in the second world war _ ( which has an extensive discussion on swearing ) , knows that the troops swore fluently and without letup .
" who is this private ryan that we have to die for him ?
" asks one infantrymen in the group of eight . rendered in wartime demotic , that should have been expressed as " who is this little pecker that we have to get our dicks shot off for him ?
"
or some variant thereof .
conversations should have been literally sprinkled with the " f " word , and largely about ( the search for ) food and sex .
this is all the more inexplicable because the movie already had an " r " rating due to violence , so swearing could not possibly have been eliminated to make it a family film . however ,
the most troubling aspect of the film is the spielbergization of the topic .
the most intense hell humans have ever created for themselves is not emotionally wrenching enough for steven spielberg .
he can not just cede control to the material ; he has to be bigger than it .
as if afraid to let the viewer find their own ( perhaps unsettled and not entirely clear ) emotional foothold in the material , spielberg has to package it in hallmark moments to give the war a meaning and coherence it never had : the opening and closing scenes of ryan and his family in the war cemetary ( reminscent of the closing scene from _ schindler 's list ) , the saccharine exchange between ryan and his wife at the close ( every bit as bad as schindler 's monologue about how his car , tiepin or ring could have saved another jew ) , quotes from abraham lincoln and emerson , captain miller 's last words to private ryan , and an unbelievable storyline in which a prisoner whom they free earlier in the movie comes back to kill the captain .
that particular subplot is so hokey , so predictable , it nigh on ruins the film .
nowhere in the film is there a resolute depiction of the meaninglessness , stupidity and waste which characterized the experience of war to the men who actually fought in combat ( imagine if miller had been killed by friendly fire or collateral damage ) .
because of its failure to mine deeply into the terrible realities of world war ii , _ saving private ryan _ can only pan for small truths in the shallows . .
[EX A]: N

[EX Q]: "
the 44 caliber killer has struck again .
" starring john leguizamo , mira sorvino , adrian brody , jennifer esposito , michael rispoli , bebe neuwirth .
rated r .
summer of sam will be remembered as a waste of spike lee 's abilities .
lee is a great filmmaker , often exhibiting kinetic visual flair on par with brian depalma and martin scorsese and a storytelling ability comparable to steven spielberg .
but here , he gets himself into a bind .
his latest effort is a case of a director pretending he has something to say when in reality there is little of substance to absorb from his work .
the summer of 1977 was an unusual summer in new york city .
it was the hottest summer on record .
to boot , new york 's first serial killer was on the loose : calling himself the son of sam ,
david berkowitz killed 9 people in the new york area and frightened the whole city population .
so it was understandable that when nyc was hit with a citywide blackout , people went berserk , causing billions of dollars in damage to the city .
the movie 's focus is on a group of twenty - somethings during that fateful summer : vinny ( john leguizamo ) , a club - hopping , adultrous hairdresser , his benevolent wife dionna ( mira sorvino , looking young ) , ritchie ( adrian brody ) , a punk who becomes an outcast as well as a son of sam suspect , a gang of small time mobsters and a few more minor characters .
we follow them through their roller coaster lives , thrown out of whack even more by the recent killings .
vinny and dionna have marital problems because vinny cheats and dionna tries to please him , make him stay faithful to her .
ritchie gets shunned by his group of friends because he has started to become more and more " eccentric , " and has degenerated to the point of dancing in gay night clubs and making porno films with his girlfriend .
tensions build and conflicts arise as the anniversary night of son of sam 's first murder looms ; the night he promises he will strike again .
a local gang with too much time on its hands makes a list detailing all of the people that its members think might be suspects .
at the top of the list is ritchie .
vinny , an unwilling part of the said group , is called upon to set a trap for his friend .
as we watch these proceedings , some of which are painfully graphic ,
the dreaded " so what ?
" question springs to mind .
from the way this movie is made , i 'd have guessed that spike lee was trying to tell us something , but as i searched deeper it became clear that there is very little there to find
.
lee touches on so much -- the media , the 70 's punk scene , the details of the actual killings , as well as the characters ' very personal dilemmas -- but
he does n't bring all of his topics together to form a coherent theme or make a discernible statement .
all is not lost if a movie turns out to be hollow ; it can be a saving grace for the film to be enjoyable .
too bad summer of sam does n't get any help here .
frankly , it 's a bore , a redundant and repetitive two hour and twenty minute film that does n't entertain beyond its first half hour .
there is no suspense because the film refuses to be fully about the murders and little involving drama because the film is too muddled and its focus too vague .
leguizamo 's turn as vinnie is annoying and whiny .
the script makes it clear that we 're supposed to believe that his character is flawed , but still a good guy .
you 'd never guess from his performance .
adrian brody and especially mira sorvino fare better .
sorvino gives a riveting , touching performance in a banal movie
( i 'm tempted to think that i liked her because nearly everything else around her was inane ) ; her character is affecting and her emotions true - to - heart .
brody , too paints an effective portrait of a young guy desperate for attention who gets a little more than he bargained for .
summer of sam has some superficial elements of a good film : it looks great , it has a few notable performances and i suppose it 's pretty well directed , in a purely technical way .
but it 's also empty , pretentious and boring .
like last year 's the thin red line , it 's a movie by a director who does n't know what he wants to say but goes ahead and says it anyway . ?
1999 eugene novikov&#137 ;
[EX A]:
N