In this task, you must classify if a given review is positive/negative, indicating your answer as P or N.
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Question: when 17 year old beau hall ( jonathan tucker , " the virgin suicides " ) gets in a car accident after drinking with his 30 year old companion , club owner darby reese ( josh lucas , " session 9 " ) , his mom , margaret ( tilda swinton , " the war zone " ) pays reese a visit to convince him to leave her son alone .
instead , reese travels out to their lake tahoe home and lures beau out to the boat house where beau learns that his mother was right about reese .
the next morning margaret discovers darby 's dead body on their beach and , suspecting the worst , weights it down in a distant part of the lake .
but her troubles are just beginning , as she soon learns with the arrival of blackmailer alek spera ( goran visnjic , " practical magic " ) in " the deep end .
" the incredibly pale , red - headed scottish actress swinton immerses herself into the role of the reserved american super - mom whose life revolves around serving the needs of her three children and live - in father - in - law jack ( peter donat , " the game " ) .
she shows great strength while allowing other emotions to glimmer through - discomfort at challenging reese in his gay disco ( named the deep end ) , near panic at having to dive down to his body to retrieve car keys , or even wry humor when an attempt to get help from jack becomes hopelessly miscommunicated .
gradually her loneliness becomes apparent ( her husband 's a naval officer , usually away at sea ) when her attempts to email him her concerns about beau are deleted and later , when a most unusual , yet chaste , romance turns tragic .
it 's a terrific performance .
the stendahl syndrome - like script , adapted from elisabeth sanxay holding 's 40 's noir novel ' the blank wall ' by directors scott mcgehee and david siegel , would be unbelievable if not for swinton and her costar visnjic .
alek spera is a wrong side of the tracks loser who arrives after reese 's body has been discovered .
he shows margaret a videotape of beau having sex with reese and demands $ 50 , 000 or he 'll turn the tape over to the reno police .
subsequent visits will turn his mind set upside down and backwards , though , as he comes to admire and even love the woman he set out to blackmail .
there 's yet another problem , though - his partner nagle ( raymond barry , " dead man walking " ) is a harder cored criminal who wo n't let up until his share of the money is delivered .
visnjic 's dark , brooding turn has an interior shading to it that makes us believe he 's a victim of circumstance and environment .
his turnaround is palpable as he witnesses margaret 's inherent decency and her workaday surroundings .
also outstanding is tucker as beau , who has a terrific character arc and pas de deux with his mother .
initially beau 's the typical sullen teen . '
you 're blowing this out of proportion , ' he says of her concerns about reese , not comprehending that his mom has enough insight to have divined the true nature of the relationship .
as his mom gets in deeper and deeper trying to cover up a crime he did n't commit , beau becomes suspicious of her actions and apparent new companion , turning tables .
his early black eye becomes her later split lip .
while the two can never be completely honest with each other , their love for each other comes through strongly .
the directors ( " suture " ) have a firm grip on their material and cast .
the story builds perfectly with bold strokes amidst a myriad of subtler underpinnings .
water imagery is constant ( an early shot of weirdly rushing green is revealed to be a young boy cleaning out an aquarium ) .
giles nuttgens ( " fire " ) cinematography , which won the 2001 sundance festival award , is crisp and startlingly clear .
the tahoe locations and production design by kelly mcgehee and christopher tandon provide a dual personality for the film , contrasting the calm , well off existence of the lake against the gambling city of reno .
"
the deep end " is a complex story of domino deeds and shifting relationships .
take the plunge .

Answer: P


Question: for about twenty minutes into mission impossible 2 director john woo ( the killer , hard boiled , face off ) appears to have made an exciting , elegant , charming spy thriller , kind of a post millennium james bond adventure with a strapping american ( read : unsophisticated ) hero more willing to drop kick villains than out fox them .
sadly , as the picture progresses , the final product begins to bear a closer resemblance to a souped up , two - hour long episode of magyuver .
and not a particularly good one at that .
what went wrong ?
mi2 begins flashily enough , that initial flash leading us to believe that it 'll soon give way to something of a plot , but it only gives way to more flash , then digresses further into a presumably unintentional parody of itself with much slo mo posturing and countless action set pieces wherein bad guys seem to deliberately leap into the way of tom cruise 's firing gun just so they can die really cool .
early on , during a car chase between soon to be lovers ethan hunt ( tom cruise ) and nyah nordoff - hall ( thandie newton ) , woo works some of his trademark magic .
in one hypnotic , though completely inexplicable sequence , the director slows the action down to a languid semi - stall as cruise and his stunning opponent stare into one and other 's eyes with come hither sexuality ? ? ?
just as their respective cars smash and spin in accordance , coming ever so close to toppling over a neighboring cliff .
prior to this we see the famed trailer opener of cruise climbing a steep mountain , sans scaffolding , then leaping from one jagged rock formation to another .
why ?
i have n't the foggiest .
i doubt even john woo could provide you with a logical reply .
with mi2 woo has become a slave to the summer movie machine , the one that jettisons logic for gravity defying effects and story for more gravity defying effects .
it 's possible that these " spies " could be adrenaline junkies climbing mountains and crashing into each other as means to get off , though of course this is never explored .
the scenes i 've described are really only included to titillate , not to give any insight into character .
god forbid .
woo certainly knows how to make each set piece energetic , but they remain individual set pieces never connecting to form anything more than splices of beer commercial - like visuals .
still in terms of crackerjack eye candy , the opening has much to cherish .
cruise and newton first meet during a vigorous flamenco dance featuring several welcome woo devices ( the graceful slow mo artistry of synchronized movement juxtaposed against the stage 1 romance of two attractive individuals discovering how attractive the other is ) .
between the frantic dancing , woo trains his camera on cruise and newton as they make with some sensuous eye contact .
the scene is a little over the top in a bon jovi music video circa 1988 kind of way , yet it has style and something of soul , and woo casts a bit of a spell on us .
sure it 's all smoke and mirrors , but we can see that there happens to be a talented maestro behind this particular product .
thandie and cruise later meet in a bathtub in a scene that 's about half as playfully charming as the jennifer lopez \ george cloony trunk meeting in out of sight .
they flirt and exchange obvious double entendres .
newton bats her eyes flirtatiously .
cruise grins a little too slyly .
the cruise character , ethan hunt , has been drastically altered since the first film .
here cruise plays him more as a hip , sexual dynamo than the square jawed robot he impersonated in part 1 .
he 's cool and dashing , which is precisely the kind of role we want to see cruise in after watching him sleep walk through eyes wide shut ( which might just be the longest episode of red show diaries ever committed to film ) , and blustered his way through magnolia ( quite possibly the most overrated performance of the 90 's ) .
sadly as the film progresses we see less of cruise 's initial " i 'm the man !
" charm and more slo - mo close - ups of his preening mug .
mi2 falls apart on nearly every level during its repetitious third act , which is essentially one hour long action sequence that just wo n't stop .
the whole thing commences with an utterly generic gun battle ( the first gun fight in the film ) , which really should be unheard of in a john woo film , but alas this particular battle could 've been staged by anyone from renny harlin to joseph merhi ( of course excepting the " symbolic " pigeons who seem to find their way into every john woo picture ) .
we 've all seen guys slide across the floor in slo mo while firing a gun in each hand .
it is n't done any differently here .
the action is pure hard target \ broken arrow theatrics with nothing to propel it but the apparent need to see tom cruise drop kick face less villains while his hair whips stylishly in the wind .
he 's cool for sure but
he 's made to be as empty as the movie .
the actor is n't used so much for his boyish appeal as for his chiseled looks ; he smiles narcissistically into the camera at literally any moment , be it during a gunfight , before one or after one .
when he 's not beaming away , he 's staring into the lens with cold eyes trying to look mad as hell , but woo 's editing seriously undermines the effort .
he fetishizes cruise 's angular face with such glee that it turns into a naked gun style spoof .
i half expected cruise to peel off his facemask and reveal that he 's really austin powers .
in a classic woo action moment , ethan hunt struts past a fiery doorway glaring at the baddies within its frame like a pin - up boy angel of death .
the gunfight turns into a daring escape which turns into a reckless mission which turns into a motorcycle attack in which bad guys seem to angle directly for cruise to kill them like some kind of mass suicide ritual ( one dumb bastard even jumps his bike over the gun toting cruise , basically inviting our handsome hero to shoot him in mid air which he does ) .
the lead bad guy ( played by the appropriately british dougray scott ) and cruise face off in a mentally deficient game of chicken ? ? ? on motorcycles .
though instead of jumping off to the side at the last moment , the two grown men leap directly into the other giving each other a mid air bear hug , only to fly about a hundred feet ( still in bear hug position ) , land on a beach below and begin a mano - e - mano fist fight that ends with the bad guy pulling a " so you thought i was dead . . .
"
.
not to worry , cruise takes care of the problem without even breaking a sweat .
what a hero !
you may have noticed that i opted not to describe an iota of mi2 's plot .
my reasoning is simple : i 'm not sure of any good it would do .
the film itself has absolutely no concern with story , only with hurtling forth to the next " special " effect .
i was n't kidding when i told a friend of mine that mi2 has less plot than the average aerosmith video .
nobody will go to this for the plot , and if they do they 'll surely regret it .
as summer movies evolve ( or devolve ) character and plot have become increasingly whittled down to nearly nothing .
in mi , the plot seemed to be built around brian de palma 's ( that film 's director ) stylistic flourishes , while in mi2 the plot only serves to give us an intermittent breather from woo 's non - stop masturbatory pandemonium .
it 's irrelevant in every sense , as is character .
all that ultimately matters are those pesky smoke and mirrors .

Answer: N


Question: lengthy and lousy are two words to describe the boring drama
the english patient .
great acting , music and cinematography were nice , but too many dull sub - plots and characters made the film hard to follow
.
ralph fiennes ( strange days , schindler 's list ) gives a gripping performance as count laszlo almasy , a victim of amnesia and horrible burns after world war ii in italy .
the story revolves around his past , in flashback form , making it even more confusing .
anyway , he is taken in by hana ( juliette binoche , the horseman on the roof ) , a boring war - torn nurse .
she was never really made into anything , until she met an indian towards the end , developing yet another sub - plot .
count almasy begins to remember what happened to him as it is explained by a stranger ( willem dafoe , basquiat ) .
his love ( kirstin scott thomas , mission impossible ) was severely injured in a plane crash , and eventually died in a cave .
he returned to find her dead and was heart - broken .
so he flew her dead body somewhere , but was shot down from the ground .
do n't get the wrong idea , it may sound good and the trailer may be tempting , but good is the last thing this film is .
maybe if it were an hour less , it may have been tolerable , but 2 hours and 40 minutes of talking is too much to handle .
the only redeeming qualities about this film are the fine acting of fiennes and dafoe and the beautiful desert cinematography .
other than these , the english patient is full of worthless scenes of boredom and
wastes entirely too much film . ,

Answer:
N