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

Input: Consider Input: jonathan demme 's _ beloved _ , based on the book toni morrison , is a study in skillful literary adaptation .
on the one hand , the film manages to recreate key moments from the novel , evoking morrison 's pragmatic narrative style without using her authorial voice .
on the other hand , beloved omits the some of the finer details of the book , favoring an ambiguously defined back story upon which to build the story 's main events .
this choice is a smartly made one , for it creates an open space in which the story 's wide range of emotions can gestate and grow
.
indeed , the impact of the film is so protracted that much of it can not be felt until long after the end credits have rolled .
_ beloved _ takes place in the second half of the 19th century , during the so - called reconstruction era after the civil war .
for newly - freed slaves , it is a time of confusion and turmoil .
oprah winfrey is sethe , a slave who escaped a kentucky plantation and took her children to an ohio farmhouse , where she hoped the terror would end .
what she did not know was that it would follow her there , and remain with her long after the physical threat had vanished .
_ beloved _ ultimately tells the story of sethe 's search for forgiveness , one long - hampered by an unforgettable sin .
the film starts off on a dreary day ten years after sethe 's escape , as a violent , unseen energy rocks her dilapidated farmhouse .
invisible hands terrorize her family , flinging objects across rooms , shaking tables , rattling floorboards .
sethe 's sons run away , perhaps for good , leaving sethe and her daughter denver to fend for themselves .
demme 's matter - of - fact handling of this supernatural element is just one of _ beloved _ 's intriguing aspects .
all of the characters take for granted that ghosts are real .
when paul d ( danny glover ) -- a former slave who escaped kentucky along with sethe -- arrives at the house eight years later and is confronted with the ghost 's hellish visions , he does n't run in terror .
instead , he asks who the ghost is .
as in morrison 's novel , demme quickly establishes that the horror of the story will not come from the fact of the ghost itself , but from the terrifying past in which the ghost was created .
sethe is the one being haunted , but the ghost in the house is the least of her fears .
in fact , the ghost is one of the reasons she chooses to stay .
the story takes an bizarre turn with the appearance of beloved ( thandie newton ) , a young black - clad woman who appears on sethe 's front lawn , leaned christ - like against a tree stump .
sethe and denver immediately take to the rasping woman and try to nurse her to health .
they know not who she is , but that does n't matter .
only paul d is suspicious of the stranger .
little does the family know that beloved will bring about many changes , and force sethe to release a guilt she has held onto so urgently for eighteen years .
winfrey is arguably beloved 's greatest asset .
she inhabits the role of sethe
so convincingly it is hard to believe this is the same woman who shines brightly on a tv talk show .
lisa gay hamilton does an impressive job in the emotionally demanding role
as the younger sethe , whose appalling actions make her the disturbed woman we see eighteen years later .
danny glover is affable
as the sympathetic paul d , as is kimberly elise as denver , sethe 's wanderlusting daughter .
as sethe 's sage - like mother - in - law old baby suggs , beah richards
authoritatively commands every scene in which she appears .
the film 's least palatable choice of casting is unfortunately that of the role of beloved herself .
thandie newton plays the glassy - eyed girl with a demented fervor which is endearing at first , but which becomes off - putting and unintentionally laughable by the end .
departing from the honed aesthetic he used in such films as _ the silence of the lambs
_ and _ melvin & howard
_
, director demme has used a bit of dramatic overstatement to get across the vivid descriptions in morrison 's novel .
totemic camera shots and color - saturated scenery are decidedly uncommon in demme 's films , but the few he uses here work to the film 's benefit .
_ beloved _ 's most memorable scenes are those of baby suggs ' gatherings in a forest clearing , where the bright yellow - greens of nature entrance the viewer as much as suggs ' words do .
for the most part , though , demme maintains his trademark directorial neutrality .
this , combined with morrison 's equally frugal method of storytelling , may make _ beloved _ somewhat of a challenge to watch , even to those familiar with the book .
though the film compliments the book extraordinarily well
, it falls short in allowing the sort of accessibility one usually expects from a film .
nothing is spoon - fed to the viewer .
morrison 's novel is just as enigmatic , but unlike a movie , a book can be put down to allow the various undercurrents and themes to churn and absorb .
the movie begins like _ poltergeist _ , and ends like _ the color purple _ , with shades of _ the scarlet letter _ and _ little women
_ somewhere in the middle .
taken as a whole
, beloved is a disquieting , one - of - a - kind experience , one to be viewed with guards down and spirits in abeyance .

Output: P


Input: Consider Input: eric rohmer 's " pauline at the beach , " is one of those small , deliberately paced , but charming foreign films in which not much happens plot wise , but a lot happens to the characters emotionally .
the film takes place during a few weeks of august at the normandy coast , and centers on six different characters , primarily pauline ( amanda langlet ) , a wise beyond her years 15-year - old who has come to stay for the summer with her older cousin , marion ( arielle dombasle ) .
on the first day at the beach , marion runs into an old high school flame ( fedoore atkine ) , and although he wants to rekindle their relationship , she is more interested in an older , more seductive womanizer ( pascal greggory ) , who is also secretly having an affair with a candy vendor ( rosette ) .
while pauline watches as an outsider at what is happening between all of the adults , she forms a relationship of her own with a young teenage boy ( simon de la brosse ) .
" pauline at the beach , " is not a film in which big dramatic things occur , and there is not a clear - cut , tidy conclusion to the story .
instead , it is a picture that simply observes its characters in every day life , and the surprises come from little character details .
the film is quite talky and slow moving , and so it is pretty safe to say it is n't for those who are only a fan of action movies , but is a treat for those viewers who often like to venture outside of the big - budget genre and see a good art film .
this is the first film by acclaimed director eric rohmer ( 1969 's " my night at mauds , " and 1971 's " claire 's knee " ) that i have seen , but his direction is assured and intelligent , as is the screenplay , which he also wrote .
" pauline at the beach , " is a film worth seeing .

Output: P


Input: Consider Input: note
: some may consider portions of the following text to be spoilers . be forewarned .
at the end of the day , those reflecting upon the debacle that is the avengers would do well to take note that warning clouds loomed on the horizon for the project well before warner bros . made the contentious decision to abandon preview press screenings and scrapped plans for a gala premiere .
this highly - anticipated film rendition of the cult television show was originally slotted for an early june opening , where it would have gone head - to - head against the rival studios ' heavy hitters ; its eventual demotion to a less potent mid - august opening was an obvious early indication of the studio 's lack of confidence with the picture .
and with good reason .
this is a joyless exercise of a film , held together by a barely coherent plot and lacking any semblance of excitement , thrills or wit .
remarkable in its banality and brutally uninvolving , the avengers is a catastrophic mess which immediately invites comparisons to last year 's case study in style over substance , joel schumacher 's much - loathed batman & robin .
( indeed , both films even feature appalling , ridiculous sequences which find central characters dressed up in fuzzy oversized costumes . )
uma thurman , who takes on the salacious role of the catsuit - clad , karate - chopping emma peel immortalized by diana rigg , was the only bright spot in the aforementioned schumacher disaster , imbuing her poison ivy with a dose of sassiness and sly wit that gave audiences something to smile at amidst the cinematic carnage .
unfortunately , the same ca n't be said here , where she and cohort ralph fiennes ( our new john steed , taking over for patrick macnee ) demonstrate no appreciable chemistry whatsoever , fatally crippling the picture as they volley fizzling repartee back and forth and trade double - entendres with all the enthusiasm of two actors painfully aware that they 're on board a sinking ship .
at this rate , usually - splendid actor mr .
fiennes may never make the transition from arthouse apollo to mainstream leading man -- his tepid turn here will make as much of an inroad as his commendably seedy performance in the regrettably - neglected kathyrn bigelow film strange days .
the duo
* look
* the part -- and admittedly the avengers is , more than most , heavily dependent upon style -- but
they 're no fun to watch , and i found myself growing increasingly distant and annoyed by the lack of spark between the two cheekily ironic characters as they navigated through the picture 's caper - esque plot .
when not checking my wristwatch or shifting restlessly in my seat , i began to alleviate the boredom by considering how this all might have played out had the filmmakers chose to go instead with that erstwhile emma as our mrs .
peel --
no , not kate beckinsale ( although the notion now intrigues me ) , but gwyneth paltrow , who was originally in the running for the part and can veritably handle a spot - on english accent .
if nothing else , it 'd at least be highly entertaining for the incongruous sight of the vaguely twiggish young actress kicking butt .
the story , such as it is , involves the ever - bemused tandem of steed and peel combating the malevolent sir august de wynter ( sean connery ) , an eccentric aristocrat threatening the safety of the nation with his climate - controlling contraption .
( they also sip a lot of tea . ) overlooking some goofy cloning nonsense and quirky hijinx involving our protagonists ' superiors
, it sounds far better than it plays , and is rendered almost indecipherable by blatant post - production tinkering ; it 's clearly evident that the picture has been cut to shreds .
the avengers was never about gripping drama , and our heroes accordingly never take villainous sir august very seriously , but given the lack of cohesion in the plot and the lack of menace conveyed by the buffoonish maniac , it 's all decidedly uncompelling .
mr .
connery , who 's onscreen barely long enough to register an impression , approaches the role like a man fulfilling a contractual obligation , simultaneously chewing the scenery while unable to hide his disinterest .
at least it all looks good .
this is a genuinely handsome production , with fine costume design by anthony powell and crisply shot by roger pratt .
in particular , the gleaming production design by stuart craig commands attention , adeptly drawing elements both old and new in order to depict this great britain .
there are a handful of striking visual moments in the film , including an attack by a swarm of giant robotic bees and a nice shot of steed and peel finding a way to walk on water , but the film is so unremittingly dull that even these instances fail to stir interest or raise pulse rates .
by the time the film 's climax had arrived , my interest was not with the sight of steed and sir august slugging it out amidst crashing waves and thundering rain , but with the quickest escape route from the theatre .
not coincidentally , the enticing bits of visual bravura were the shots assembled into the movie 's remarkable trailer , a savvy piece of work which ironically is infinitely more appealing that the feature film itself ; the first promo which made the rounds in early spring is probably my favourite studio trailer so far this year .
it 's everything that the avengers is not -- saucy , clever , engaging , and entertaining .
a crushing disappointment , the film is one of the worst outings of the year -- too drearily awful to be savoured as gleefully bad , too polished to overlook its deficiencies .
there may be upcoming pictures that are even more lifeless than the avengers , but i sure hope not .


Output: N