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

Input: Consider Input: no filmmaker deconstructs a story as well as atom egoyan .
i 'm referring , specifically , to the narrative form .
in the sweet hereafter , egoyan tells his story in a similar framework to his exotica or the adjuster .
said story , of a fatal school bus accident in the small town of sam dent , british columbia , that shatters the morale of the locals , is told in a most unstraightforward manner .
when the film opens , the accident has already happened , and stephens ( the wonderful holm ) , a polite ambulance - chaser , has arrived with the promise of a lawsuit that will eek out the truth of what really occurred that fateful morning .
throughout , we get to meet the parents of the dead , broken souls who follow stephens like " the pied piper " ( passages of which are read during the film ) .
but there is one living passenger , the paralyzed nicole ( polley ) , whose dark secrets of a life before the accident may affect her decision to testify .
we finally do see the accident , about three quarters into the film , which is a stunning visual effect .
a horrific long take that shows the bus sliding , then stopping , then collapsing into a frozen lake , is the best digital trickery in any movie this year
and , perhaps , ever , in a motion picture .
the fractured narrative also intercuts a preoccupied stephens on an airplane , traveling to meet his hiv - positive runaway daughter , as well as glimpses of the artificially happy lives these people led pre - accident .
i have a problem not with the story or story structure , but with egoyan 's heavy- handedness behind the camera .
for the first hour or so , i can quite honestly say i was on the verge of tears ; these are miserable , miserable people .
but that 's just the problem : so anguished are these folk that sympathy wanes after a while , when a lot of sadness becomes too much .
also , a subplot involving incest rings untrue .
perhaps it would n't feel so contrived if it were n't shot in such a tasteful manner .
there are two characters who are father and daughter ; when they first appeared i thought they were lovers .
i was half - right .
nevertheless it 's worth - seeing .
the delightful critic geoff pevere recently wrote that " american films are about action , canadian films are about consequences , " hence a recent wave of films about the effects of shock and death from toronto directors , including crash and kissed .
the sweet hereafter is much better
than either of these two films , simply because it 's not boring
or , in the case of kissed , afraid of its own material ( necrophilia ) .
egoyan is a fine , fine , postmodern storyteller , whose work is entertaining , edgy and smart , if a bit too intellectual at times .
though i harped on the weightiness of the material ,
i was always absorbed , engrossed , and surprised by the sweet hereafter .

Output: P


Input: Consider Input: in the opening shot of midnight cowboy , we see a close - up of a blank movie screen at a drive - in .
we hear in the soundtrack human cries and the stomping of horses ' hooves .
without an image projected onto the screen , the audience unerringly identifies the familiar sound of cowboys chasing indians and can spontaneously fill in the blank screen with images of old westerns in our mind 's eye .
even without having seen a cowboys and indians movie , somehow the cliched images of them seem to have found their way into our mental schema .
but do cowboys really exist , or
are they merely hollywood images personified by john wayne and gary cooper ?
exploring this theme , director john schlesinger uses the idea of the cowboy as a metaphor for the american dream , an equally cliched yet ambiguous concept .
is the ease at which salvation and success can be attained in america a hallmark of its experience or an urban legend ?
midnight cowboy suggests that the american dream , like image of the cowboy , is merely a myth .
as joe buck migrates from place to place , he finds neither redemption nor reward in his attempt to create a life for himself , only further degeneration .
during the opening credits , joe walks past an abandoned theater whose decrepit marquee reads ` john wayne : the alamo . '
as joe is on the bus listening to a radio talk show , a lady on the air describes her ideal man as ` gary cooper ?
but he 's dead . '
a troubled expression comes across joe 's face , as he wonders where have all the cowboys gone .
having adopted the image of a cowboy since youth , joe now finds himself deserted by the persona he tried to embody .
joe 's persistence in playing the act of the cowboy serves as an analogue to his american dream .
he romanticizes about making it in the big city , but his dreams will desert him as he is forced to compromise his ideals for sustenance .
by the end of midnight cowboy , joe buck loses everything and gains nothing .
just as the audience can picture cowboys chasing indians on a blank screen , we can also conjure up scenes from pretty woman as paradigms of american redemption and success .
but how realistic are these ideals ?
joe had raped and been raped in texas .
the scars of his troubled past prompt him to migrate to new york , but he does not know that his aspirations to be a cowboy hero will fail him there just as they had in texas .
alongside the dream of success is the dream of salvation .
the ability to pack up one 's belongings and start anew seems to be an exclusive american convention .
schlesinger provides us with strong hints as to joe 's abusive and abused past with flashbacks of improper relationships with crazy anne and granny .
we understand that joe adopts the fa ?
ade of a cowboy , a symbol of virility and gallantry , as an attempt to neutralize his shame .
he runs from his past only to be sexually defiled this time by his homosexual experiences in new york .
in the scene at the diner which foreshadows joe 's encounter with the gay student , joe buck spills ketchup on himself .
standing up , we see the ketchup has made a red stain running from the crotch of his pants down his thigh .
schlesinger visually depicts the degeneration of joe 's virility by eliciting an image of bleeding genitals , signifying emasculation .
beyond the symbol of castration , the scene may also connote the bleeding of a virgin 's first sexual encounter , a reference to joe 's first homosexual liaison .
the fact that the idea of a bleeding virgin is relegated only to females furthers the imagery of joe 's emasculation .
it is ironic that joe has trouble prospecting for female clients , but effortlessly attracts men .
joe believes his broncobuster getup is emblematic of his masculinity ; new yorkers see his ensemble as camp and ` faggot stuff . '
there are two predominant images of new york .
the first is that new york is the rich , cosmopolitan city where hope and opportunity are symbolized by the tall skyscrapers and the statue of liberty .
the other new york is travis bickle 's new york , a seedy , corruptive hell on earth .
joe envisions new york as the former , but is presented with the latter .
mirroring the irony in which joe envisions his cowboy attire as masculine , he mistakenly buys into the fable that new york is filled with lonely women neglected by gay men .
joe thinks he is performing a great service for new york , but the city rapes him of his pride and possessions .
the people steal joe 's money , the landlord confiscates his luggage , and the homosexuals rob him of his dignity .
what has become of joe 's american dream ?
schlesinger responds to this question with the scene at the party .
joe gets invited to a shindig of sorts and at the gathering is exposed to a dizzying array of food , drugs , and sex .
at the party , all of joe and ratzo 's desires are made flesh ; joe flirts successfully with women and ratzo loads up on free salami .
contrasting joe 's daily struggles , shots of warhol 's crew display wanton indulgence .
there is an irreverence in the partygoers ' attitude ; we see a shot of a woman kowtowing to nothing in particular , orgies breaking out in the periphery , and drugs passed around like party favors .
the party makes a mockery of joe ' s ideals .
joe believed that hard work and persistence were the elements for success in america ; scenes of the party and his rendezvous with shirley suggest that it is the idle who profit from joe 's toils .
the american dream , schlesinger suggests , is merely a proletarian fantasy , for those who are content no longer dream , but become indolent .
as joe heads to miami , all that was significant of the cowboy image has left him .
his masculinity is compromised and his morality is relinquished .
for joe , nothing is left of the cowboy hero and commensurately , he surrenders the identity .
tossing his boots into the garbage , he returns to the bus for the last leg of his journey to miami .
the final shot of midnight cowboy shows joe inside the bus , more introspective , taking only a few glances outside the window .
instead of the frequent pov shots of joe excitedly looking out of the bus on his way to new york , schlesinger sets up this final shot from the exterior of the bus looking in through the window at joe .
reflections of the palm trees ratzo so raved about run across the bus ' window with joe hardly taking notice .
the scenery of miami no longer exacts the same excitement from joe as before .
the world seems smaller to joe now ; the termination of his journey coincides with the termination of his american dream .
no longer does joe aspire to be the enterprising gigolo ; he resolves to return to a normal job and resign to basic means .
midnight cowboy presents two familiar incarnations of the american dream .
there is the frontier fantasy that if you are brave enough to repel a few indians , you can set up a ranch out west and raise a beautiful family .
then there is the jay gatsby dream that a man of humble stock , with perseverance , can make a fortune in the big city .
joe 's attempt to realize these dreams robs him of his innocence in texas and morality in new york .
during his search for an intangible paradise , joe ends up raping a girl and killing a man .
an allegory of chasing the promise of the american dream , joe
buck 's progressive
moral atrophy is a warning against the pursuit of illusory icons .

Output: P


Input: Consider Input: it is with some sad irony that i screened fright night part 2 on the day that one of it 's stars , roddy mcdowall passed away at the age of 70 .
mcdowall was one of the most talented and prolific actors in hollywood , having a career that spanned over 60 years and appearing in more than 100 films .
fright night part 2 probably will not be counted among his more memorable roles .
this is really sad considering how good the first fright night film was .
william ragsdale and roddy mcdowall both reprised their roles as the somewhat reluctant vampire killers who seem to be the only ones that realize that vampires walk among us .
( at least in the movies anyway . )
it has been several years since charlie brewster ( ragsdale ) and b - movie actor turned late night horror film host , peter vincent ( mcdowall ) came face to face with a real live vampire who just happened to be charlie 's next door neighbor .
charlie and peter won that battle , but apparently even vampires have relatives who get pissed if you kill members of their family .
apparently charlie 's former bloodsucking next door neighbor had a sister who was none too pleased to find out that some kid and an aging actor staked her sibling .
so she decides to exact a little bit of revenge .
this ends up forcing charlie and peter to battle the forces of darkness yet again .
one of the things that made fright night such a success was chris sarandon who played charlie 's stylish next door neighbor with a taste for blood .
fright night part 2 tries to duplicate that modern style but
it falls sort . while they are stylish , the vamps in this film just do n't have the personality of the undead in the first film .
with the exception of a werewolf who adds some much needed comic relief to a few of the scenes .
one bright spot , speaking from a strictly sexist point of view , is traci lin , who plays charlie 's very skeptical girlfriend .
it 's really a shame that her career has n't been better since she made this film .
ragsdale does a fair job in this film , but does n't give nearly the performance that he did in the original .
roddy mcdowall makes the most with what he is given , which unfortunately is n't much which is a shame because his character was a lot of fun in the original movie .
i guess i would have to say that the first film was a superior product in every way .
the original always left you feeling danger was lurking right around the corner , part 2 had more of the feel of a music video .
never a good thing for a horror film .
another minus
for part 2 was the traditional scenes that leave the audience on the edge of their seats waiting for something to jump out of a shadow where very rare .
for that matter , they were almost nonexistent .
if i was going to watch a horror film , this would be far from my first choice .
the first fright night , on the other hand , would be right up near the top of my list .
if i was in the mood for a roddy mcdowall film i 'd probably head to the science fiction section of my local video store and rent planet of the apes .
either way fright night part 2 would most likely not enter into the equation .


Output: N