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

Input: Consider Input: what do you get when you rip - off good movies like woody allen 's bananas and martin scorsese 's after hours ?
you 'd think you 'd get the best of both films .
instead you get woo .
falling in somewhere between def jam 's how to be a player ( which was awful ) and booty call ( which was ok ) , woo is yet another in the embarassing genre of showing african - americans to be nothing more than sexual buffoons .
the whole film plays out as a black version of after hours , as wild woman woo ( jada pinkett smith ) goes out on a blind date with straight - laced tim ( tommy davidson ) .
mayhem follows them .
for some unknown reason ( read :
contrived screenplay ) davidson puts up with all of woo 's antics for the entire night , which include her destroying his bathroom mirror , stealing things from his house , violently questioning him ( accusing and belittling him actually ) about previous girlfriends , causing a riot in an elegant restaurant , and other various infuriating things that any normal person would n't tolerate .
but for the sake of this bad movie ?
sure , why not ?
there are a few chuckles in the film , the best being the scene swiped directly from bananas .
in this case , davidson is running from thugs , gets into a subway car as the doors are closing , starts to taunt the thugs , then the doors open back up again .
a good joke , but a stolen one .
another chuckle is provided by billy dee williams ' cameo as himself .
movies like woo are seemingly released every three months or so , and not one of them has ever been a hit .
woo wo n't be one either .
so
why was it made ?
and more importantly , is n't there anyone else besides me who thinks these films are offensive ?
everyone involved should really reconsider their careers at this point .
[ r ]

Output: N


Input: Consider Input: you know , i never really wondered what the tarzan films would have been like had tarzan been an old man .
while watching instinct , i could n't help but acknowledge the way the film carelessly rehashes the well - explored themes of those earlier movies .
even beside the tarzan comparison , instinct just is n't a very good film .
it 's painfully idealistic , manipulative , and silly .
i did n't hate it -- it 's simply impossible for me to hate any film starring anthony hopkins ; furthermore , most of the acting is quite good .
but i can recognize instinct for what it is beyond my subjective admiration for the actors involved .
i can also recognize reasons for wanting to make instinct , and it 's pretty clear that this could have been a good film with a massive script overhaul and a director less interested in imitating movies like patch adams .
things start off in the predictable way , as director jon turtletaub introduces us to our hero , theo caulder ( cuba gooding , jr . ) , an ambitious , young psychiatrist under the supervision of an experienced , old psychiatrist ( donald sutherland ) .
caulder soon finds himself involved in the case of his life , the one he thinks will make him famous .
the subject is ethan powell ( hopkins ) , an anthropologist who has been living among gorillas in africa for the past two years .
powell has been charged with the brutal murders of several men in africa , and it 's now caulder 's job to find out of he 's mentally competent enough to stand trial .
through a series of short sessions , caulder tries to put together the complex psyche of powell .
even though it really is an old man version of tarzan , much of this central idea is rather interesting .
as i said , hopkins is captivating for every second he 's on screen ; he has a way of convincing us that he 's not acting , that he 's actually a man who has just spent two years of his life living with a family of wild gorillas .
the character himself is n't very interesting -- he 's just an anthropologist who really likes gorillas -- but hopkins makes him interesting with subtleties both in speech and action .
gooding jr .
does strong work opposite hopkins , playing caulder as an intelligent and flawed individual .
the screenplay , written by gerald di pego and " suggested by " a novel by daniel quinn , gives us no background information on caulder , but that seems to be the point
( he has no time for friends because he 's obsessed with his work ) .
nonetheless , these two actors are essentially the entire list of things that are good about instinct .
unfortunately , filmmaking this inept can mangle the effect of even the best acting .
turtletaub and di pego are both guilty of instinct 's artistic failure , for they work together to make the dumbest , most cliche - ridden environment in which their characters are to live , and they do so by means of brainless subplots .
first , we have the prison warden subplot .
the prison warden is evil and wants to stop caulder 's progress at any cost ; if this means taking caulder off the powell case , then that 's fine .
there 's also the prison guard subplot .
the prison guard is played by john ashton ; the prison guard seems to enjoy mercilessly beating upon the psychotics under his supervision , and he 's instrumental in helping the story along to its obvious conclusion .
then there 's the daughter subplot , in which maura tierney ( playing the daughter ) must look very upset a lot of the time ; after all , she is the daughter of a deranged man .
if some of this stuff sounds familiar , that 's because they 're all devices that have been used and reused in countless other films .
the evil doctor in patch adams is not unlike the evil warden here .
the offensive caricatures of mental patients lack the depth that the similar portrayals in one flew over the cuckoo 's nest had .
ashton 's evil prison guard pales in comparison to clancy brown 's in the shawshank redemption .
hopkins ' performance will undoubtedly remind audiences of his turn in the silence of the lambs .
and then there 's the whole tarzan thing , which is more than a little bit obvious through the entire film .
perhaps what irritates me most about instinct is the half - hearted attempt at philosophical depth .
the message powell brings back from the wild is not a subtle one : he thinks that humans are " takers , " that they expand and kill and that we should all just live like gorillas .
i can sympathize with that , but only when it 's in a compelling film .
this is the kind of stupid movie -- just like patch adams -- in which a big group of characters ( psychotic inmates , in this case ) rise against the evil forces oppressing them by tearing up playing cards .
what does any of this have to do with a man who has just spent two years of his life with gorillas ?
if all the subplots of instinct had been left on the cutting room floor , we would have had a thirty - minute movie far superior to the two - hour one that i watched today .
if the central idea had been developed beyond the old man tarzan premise , then we would really have had something interesting -- a movie that does n't rely on the strength of its actors .

Output: N


Input: Consider Input: synopsis : al simmons , top - notch assasin with a guilty conscience , dies in a fiery explosion and goes to hell .
making a pact with malebolgia , a chief demon there , simmons returns to earth 5 years later reborn as spawn , a general in hell 's army donning a necroplasmic costume replete with knives , chains , and a morphing cape .
sullen , wise cogliostro and flatulating , wisecracking violator vy for spawn 's attention .
comments : when todd mcfarlane left marvel comics ( where he had made a name for himself as a first - rate comic book penciller on the " spider - man " titles ) to join the newly - formed , creator - owned image comics , a new comic book legend was born : spawn .
mcfarlane 's " spawn " immediately became a commercial and critical success and a defining comic book series of the 1990s .
mcfarlane created a hero who was not only original but visually intricate , allowing mcfarlane to utilize his knack for artistic detail to the max .
the early " spawn " issues brilliantly capture mcfarlane 's genius at illustration and show his early attempts at writing .
with the popularity of " spawn " and the success of the current warner bros . 's batman film franchise , a movie version of some sort seemed inevitable for spawn .
in the summer of 1997 , hence , new line cinema released spawn , a live - action film based on the groundbreaking series .
this topheavy exercise in violence and special effects
unfortunately topples quickly and leaves fans of the comic book , like me , numbed by how much spawn misses the mark .
what happened ?
why is spawn so bad ?
todd mcfarlane himself
executive produced this disappointing misfire and even appears in a cameo .
i do n't think , however , that his presence necessarily hurt ( or helped )
the film .
i place the blame , in part , on the recent hollywood trend , fueled by public demand apparently , for special effects blow - out movies utilizing the latest computer technology .
these films focus upon the effects at the expense of everything else : character , plot , dialogue , etc .
spawn , reflecting this trend , shows the audience one gratuitous scene after another populated with morphing characters and filled with unnecessary pyrotechnics .
hardly a minute goes by in this film without fires , explosions , knives and chains appearing out of nowhere , glowing eyes , or constantly transforming demons .
a lot of it is visually interesting and technically solid , do n't get me wrong , but , because the script and cast are n't engaging , spawn ultimately comes across like overwrought wallpaper ( the surface may capture the eye , but nothing exists underneath ) .
spawn 's translation of the comic book suffers the most at the storyline level .
mcfarlane 's spawn was a tortured hero .
a mercenary by trade , al simmons was nonetheless a warm man in love with the beautiful wanda .
having died and journeyed to hell , he made a pact to return to earth to be with wanda .
simmons , however , discovers that his memories are fragmented , his body a creepy mess , and his wife married .
despite his sometimes violent nature , readers could n't help but feel sympathetic toward his plight as the spawn of the underworld .
spawn attempts to show all of this but does not spend nearly the time it should to do so .
when the characters are developed , they seem absurd rather than touching .
the cartoonish dialogue and implausible subplot
( a general possesses the antidote to a supervirus called heat-16 which he wishes to unleash to enslave the world ) do not help matters .
spawn , in an apparent attempt to duplicate the success of batman , also unwisely spends too much time on a villain , the violator ( batman favored the joker over batman ) .
john leguizamo , like jack nicholson in batman , receives top billing in the cast as the violator ; michael jai white ( al simmons / spawn ) is second .
i ordinarily find leguizamo an intensely annoying presence in films which seems to make him a perfect candidate for the violator .
the film , however , spends so much time on the violator 's offensive antics that they grate on the nerves .
apparently meant to be the comic relief in the film ( as nicholson was in batman ) , especially when contrasted with the sullen spawn , the violator 's lines are oftentimes grotesque and unfunny , leaving the audience wishing he would leave .
leguizamo does a satisfactory job in the role , but he is seen far too often in the film .
michael jai white , a relative newcomer to theatrical releases , seems to be an appealing actor , and he handles his role adequately , but we see little of him without various masks on .
more time needed to be spent on white 's character before he became spawn for the movie to pull at the heartstrings .
a special note should be made about martin sheen as the over - the - top , obnoxious , evil general wynn .
easily the hammiest performance in the movie , it 's hard to imagine how sheen mucked up his role so much ; after all , he played a vietnam assasin brilliantly in the great apocalypse now .
sheen 's excessive demeanor do not help the audience accept him as a mastermind villain and comes as a surprise considering his extensive career in film .
many other elements conspire with the disappointing script and abundant special effects to drag spawn down
.
mtv - style , jerky , in - your - face editing is one of them .
flames , for example , roll across the screen sometimes to announce a shift in setting .
cogliostro , unlikely wannabe guide for spawn , serves as a poor narrator for the film .
he goofily tells the audience , at one point , that " how much of [ spawn 's ] humanity is left remains to be seen , " as if the audience really cares as one violent sequence leads to another .
the music , finally , assaults the audience as much as the manic violence and offensive dialogue .
loud and obnoxious hard rock fused with drum loops dominate some scenes .
to be fair , however , marilyn manson 's " long hard road out of hell
" effectively compliments spawn 's return to earth , while filter and the crystal method 's
" ( ca n't you ) trip like i do " proves a surprisingly fitting theme song .
for as good a comic book as it is , " spawn " did not spawn a good movie .
spawn , instead , suffers from too much pomp and circumstance , and too little plot and character development
.
it receives two stars for its technically well - done special effects .
many other films , though , have equal , if not superior , special effects and are much better .
rated pg-13 , spawn seems more violent than many r - rated movies and probably would n't be appropriate for the very young .


Output: N