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

Input: Consider Input: it may seem weird to begin a film about glam rock with a sequence that includes a spaceship , a green ovular pin , and the birth of oscar wilde , but if one really strains , they can see that perhaps maybe these connections are not half off .
wilde 's philosophy was that everyone should be true to their own human nature , and the result of his following this philosophy was that he was imprisoned , loosing his family and his career .
the glam rock movement in the early 70s in england had a similar take and came to a similar demise .
the main difference was by placing makeup on their face and acting out on their deepest fantasies and inquiries about life ( mostly dealing with androgony and sexuality ) , they became less and less like themselves and more and more like everyone else .
and that 's why the movement seemed to end as soon as it began .
it 's been said that todd haynes ' " velvet goldmine , " the film that chronicles what it was like to be a part of the movement , not only from those who experienced it but by those who created it , steals a lot from " citizen kane , " and that 's true .
in the film , a british journalist in the 80s , arthur stuart ( christian bale ) , is asked to go back and find out what happened to 70s glam rock star brian slade , a fictitious rock star , who faked his own death on stage , bringing the end not only to his career but to the entire glam rock movement .
structure - wise
, this totally steals from " kane , " not only from the set - up ( he interviews three people , and the story is a result of their flashbacks ) , but in other things , like the beginning ( death , then newsreel ) , and smaller details , like the bitter ex - friend in a wheelchair and the bitter ex - wife as a washed - up lounge singer , found in a bar after hours .
this is no " kane , " and it really does n't aspire to be : it does n't attempt to be the deep outlook of something gone like " kane " did , and it does n't really uncover anything poignant about humanity .
instead , it uses the flashbacks as a form of contrast between the magic that was the glam rock era and the boredom that was life after glam rock for those who were participants .
the 80s scenes are dry and deliriously melancholy , equipped with a performance by bale that is perhaps appropriately dull and unengaging .
but the 70s scenes are engaging , though , not to mention addictively campy .
they radiate with gorgeous cinematography
that nicely accentuates all the vibrant colors of the era , and a feel that 's so eerily lighthearted that when combined with the then - footage , they become not only a symbol of decadence , but of times when everything seemed so simple .
instead of creating the world the way it was , haynes paints their own world as if it were a narcotic fairy tale : the glam rock movement was full of so much freedom and liberation that after you 've experienced it , everything else seems so mundane .
there 's no outside world to speak of , secluding these people inside a protective globe that will eventually crack .
haynes focuses his story on the tale of blade and the other fictitious rock hero , curt wild , and their relationship that created , molded , and then brought down the movement , reducing everyone else who contributed to it as merely that - contributors .
blade - played with reserve by the pouty jonathan
rhys meyers - and wild - played with anarchic wildness by ewan mcgregor - are little more than thinly disguised recreations of david bowie and iggy pop , respectively , complete with the creation of a ziggy stardust persona named maxwell demon and the confirmation that the two rock stars may have
very well not only have been one - time partners in music , but also partners in bed .
through discussions with slade 's ex - manager cecil ( michael feast ) , ex - wife mandy ( toni collette , reinventing herself as an american blonde dish who fakes a british accent when with slade ) , and finally ex - partner wild , journalist stuart begins to remember his own experiences in the era , like his discovery of his rebelliousness cum conformity , including the moment when he began questioning his own sexuality ( when he opens up his first slade record , he finds a naked and green slade lying on a crimson blanket ) , and finally running away from home to be part of the london scene , finally resulting in leading a boring job in america .
haynes demonstrates that he 's quite the visual auteur , molding scenes that are like long heald breaths , such as a seemingly long sequence juxtaposing a slade / wild concert of them performing a brian eno cover , " baby 's on fire , " with scenes from a decadent drug party ; and the film 's most wow - inspiring sequence , the first concert scene of wild with his band , the ratttz , where mcgregor lets loose so much anarchic steam that his wild iggy - esuqe movements ( including stripping naked ) and screams that the film captures that perfect moment when one discovers a major talent , and another ( slade ) discovers his idle .
even the brief music videos , spoofs of bowie 's , have a rare visual flair that 's pure camp , and which would cause ken russell to drool .
the best sequence , though , may be the beginning , following the prelude , a sequence which acts as the middle ground for both the actual being of the movement and the post - movement era .
in it , stuart and his mates are going to the infamous slade concert where he fakes his own death , where he kills off his alter ego maxwell demon in what appears to be a real assasination , which brought about the end of the era in one swift fake bullet .
with brian eno 's famous " needle in the camel 's eye " playing in the background , the scene has a detached exhileration - the song does n't seem to be played in quite the same way the other songs are .
it has a distance that 's hard to put a finger on , and it seems to represent that all this is coming to a quick and sad ending , and when one sees slade in the dressing room before the show , docked in a silver frock with wings and blue hair , depressingly staring into the mirror , it comes off as a none - too - obvious prophecy of the finale in the beginning of the film .
this movie 's not so much about plot , but more about the way it is presented , making this one of those films which is classified as being " style over substance , " a statement which prompts many critics to line up for attack .
however , for the most part , the engaging part of this film is not the story but rather the way in which haynes creates this world , by using his sets , costumes , cinematography , and especially the music to play as characters in his film .
the music is especially notable .
the soundtrack , which is wall to wall , consists of old school glam rock tunes by the likes of brian eno , t - rex , and roxy music , as well as covers by slade 's band ( with vocals by thom yorke , and occasionally rhys meyers himself ) , and even newer music by shudder to think that sounds uncannily bowie - like .
the cast is rather impressive , but no one really walks away with the film , and no performances are extremely good .
although eddie izzard , as slade 's manager ( who challenges slade 's first manager to an arm - wrestling match to see who gets control of his career ) and michael feast as the first and tragic manager come off greatly , and collette and mcgregor have their moments , rhys meyers and bale are noticably sub - par , neither putting a lot of effort into their respective roles .
some of it is at fault with the actual construction of the film by haynes .
rhys meyers ' brian slade remains merely a metaphor for the glam rock era , dying when he turned into a retro - garbo , resorting to a life of salinger - ism , and found in the mid-70s to be lying around , sniffing coke off the ass of a party girl .
in fact , no one in this film is really seen as a person , rather than just as a symbol or composite of a type who thrived during the era .
bale 's character is an especially tough sell : bitter and depressed by flashbacks to his young adulthood , he 's not an extremely personal character , and his cliched experiences ( being hounded by the record store guys for buying a record put out by a " poof " ) never help us communicate with him .
nevertheless , rhys meyers and mcgregor have the excuses that their characters are not really characters but rather the results of an era that has left them , and others , bitter , part of which helps the film work , since this is a major piece of eye candy .
at the prime of the movie , they at least look the role of fashionable leaders - slade with his perpetually - changing , androgonys persona , and wild with his topless and unpredictable image , which clash and fuse into an unstable union .
their story - of how slade was so influenced by wild that he adapted it into a similar who - cares attitude crossed with camp - is engaging , without the personal background .
the story of stuart , though , is a tougher sell because he 's the everyman , and when you ca n't totally identify with the everyman , your story 's in slight trouble .
as a cultural rock piece , " velvet goldmine " is rather good , but it is merely good .
it never totally takes off , although it has moments where it absolutely flies
,
but then comes back down .
it 's really nothing more than
a bunch of really great moments , surrounded by material that could really be much better .
the beginning is captivating but slow , the middle is fantastic , and the ending is not only shallow but worse than that
, it drags ( the final half hour not only does it not bring the story to any real conclusion , it could probably stop at any point ) .
and did anyone really figure out what the mystery is that arthur unearths ?
it almost seems like there was no point in the entire investigation other than to unearth the past , which is commendable but
not totally so .
still , it does what the oliver stone pic " the doors " did n't do right , becoming very insightful to what happened , using the visual style to hit most of the right notes of contrast between what made the era so great to those who lived during it and
why after living through such an era that everything else seems half - assed ( i suppose the message is : " live life , but after you 've lived it , what else is the point when you 'll be forced to live with regretful memories ? " ) .
the really superb achievement of this film is that during its flashbacks , it successfully creates for the audience what it must have felt like to be in that era , but with the added perk of knowing the result of all that goes down .

Output: P


Input: Consider Input: and now the high - flying hong kong style of filmmaking has made its way down to the classics , and it is n't pretty .
this time out the nod to asia goes by way of france in the excruciating bland and lukewarm production of the musketeer , a version of dumas 's the three musketeers .
by bringing in popular asian actor / stunt coordinator xing xing xiong -- whose only prior american attempts at stunt choreography have been the laughable van damme vehicle double team and the dennis rodman cinematic joke simon sez -- our musketeers are thrown into the air to do their fighting .
the end result is a tepid and dull action / adventure rip - off that stinks of indiana jones and bad asian kung fu .
the story is so simple my grandmother could have adapted the screenplay .
d'artagnan ( justin chambers ) is the vengeful son of a slain musketeer .
he travels to paris to join the royal musketeers and find the man that killed his parents .
in paris , he meets the cunning cardinal richelieu ( stephen rea ) , who is trying to overthrow the king , and richelieu 's man - in - black associate febre ( tim roth ) , the killer of his folks .
he finds the musketeers in paris disbanded and drunk , so he rounds up aramis ( nick moran ) , athos ( jan gregor kremp ) and porthos ( steven spiers ) to free the musketeer 's wrongfully imprisoned leader treville from the king 's prison .
d'artagnan and his new frisky love interest / chambermaid francesca ( mena suvari ) play footsy and coo at each other as the cardinal hunts down the musketeers until finally the queen ( catherine deneuve ) ends up being captured by the menancing febre , forcing the musketeers to regroup , with d'artagnan leading the charge , and save the day .
director peter hyams ( end of days ) obviously wanted to blend eastern and western filmmaking styles , but here it 's a disaster .
one problem is that , in reality , most eastern films have taken their lead from western ones .
jet li 's high risk is a rip - off of die hard -- not the other way around .
ironically , there is awfully little swordplay or action in the film at all -- maybe ten minutes of swashbuckling spread over five scenes .
most asian action films carry the bulk of their production with 20- to 30-minute action sequences , because they know the scenes have to carry the picture .
the musketeer instead weighs itself down with a predictable and monotonous screenplay by gene quintano ( sudden death ) , horrible acting
by stephen rea and tim roth , and the prosaic attempt of justin chambers ( the wedding planner ) to deliver his mousy self as a leader .
chambers ' d'artangnan is n't a musketeer -- he 's a mouseketeer ! and hyam 's use of candles and torches to light the grime and filth of 17th century paris are well - noted , but that 's the only standout in
an overall flat production .

Output: N


Input: Consider Input: when i saw the trailer for this film , i laughed harder than i had in quite some time .
while i was therefore pretty well psyched to see it , i was ever mindful that a trailer can make even the most mediocre film look good .
i 'm happy to say that there 's something about mary is not one of those trailer let - downs .
in fact , watching this film was quite a fine way to spend two hours .
the film opens up in flashback to 1985 , at a high school in cumberland , rhode island .
ted stroehmann ( ben stiller ) is a social reject who ca n't seem to get a date to the upcoming prom , until he comes to the defense of the mentally retarded warren ( w . earl brown ) , who 's being harassed by one of the school jocks .
it seems warren 's sister is the campus queen , mary jensen ( cameron diaz ) , who is impressed with ted 's willingness to stand up for her defenseless brother , despite a very real chance of getting beaten up .
mary takes an immediate liking to ted and asks him to the prom .
ted was just flattered that she even knew his name .
unfortunately , prom night is ruined when ted has an accident with his zipper ( at which every man in the theater will wince ) , and is sent to the hospital .
fast forward to the present , where ted has cleaned himself up , now writes for a magazine , but has weekly therapy sessions in order to deal with his obsession of the past 13 years : mary , whom he has n't seen since that fateful day .
with the help of his friend dom ( chris elliott ) , ted hires slimy private investigator pat healy ( matt dillon ) to track down his only love .
however , when pat finds mary , he falls for her too , and soon the both of them are competing for her affections .
there 's
something about mary is directed by bobby and peter farrelly , who brought us dumb and dumber and kingpin .
not exactly intelligent comedies , they are of the guilty pleasure variety where you might not want your friends or co - workers to think you had such a great time watching them .
with their current film , the farrelly brothers have come up with something you 'll not only enjoy , but also wo n't mind talking about the next day at the water cooler .
the film succeeds in employing a pretty wide range of comedic styles , from the subtle to the ridiculous , and while a few of the gags might be offensive to some ( seeming like residuals from the farrelly brothers ' last two films ) they almost all work .
i have not seen many movies in the recent past that shoot for the mark and so often hit it dead on .
one minute you 'll be laughing at something ted says , and the next you 'll be howling at the sight of a dog dragging him across the floor of mary 's apartment .
one of the great things this film has going for it is ben stiller .
he is perfectly cast in the role of ted , because he 's a guy who just looks awkward in almost every situation .
ted 's a nice fellow and tries to do his best , but for some reason or another things just do n't always work out .
it 's comical , but also has that kind of appeal where you really feel for the him and want him to come out on top .
actually , i 've liked stiller since he did a short which aired on saturday night live back in the mid - eighties .
the film was like a theatrical trailer for a spoof on the tom cruise / paul newman film the color of money , entitled the hustler of money .
in it , stiller played wince ( not vince ) who is taken under the wing of an older man ( played by john mahoney ) to become a big - time bowling hustler .
it was parody at its finest , more of which showed up in the short - lived " the ben stiller show " on the fox network in late ' 92/early ' 93 .
like " the critic " ( which aired on abc , then fox ) , i still mourn that show 's cancellation .
cameron diaz is absolutely enchanting for most of the film , although her character seems obsessed with perfection in the men she dates , and some of the qualities she looks for make mary look paper - thin at times .
however , diaz pulls the role off with such panache and charm , that you can still see why she 's got guys just falling over each other to be with her .
heck , i even found her laugh to be cute , even though i thought it was annoying during an appearance she made on the tonight show last week .
my girlfriend remarked that matt dillon does n't change , and you know , it 's really true .
he and ralph macchio must hang out or something .
maybe they live in dick clark 's pool house .
anyway , here 's
another good piece of casting ,
as dillon slips beautifully into the role of the guy who tries to worm his way into mary 's heart .
the supporting performances are also good .
chris elliott has a bigger part than in the abyss ( yes , check it out next time ) , and less annoying than in cabin boy .
lin shae , who plays mary 's neighbor magda ( and also appeared as the landlady in kingpin ) , provides some good laughs , especially in scenes with her benji - like dog , which acts as the focal point for a few of the funniest moments of the film .
lee evans , as mary 's friend tucker , displays a flexibility in acting and accents which surprises and contributes to an interesting plot twist .
the farrelly brothers and scriptwriters ed decter and john j .
strauss keep the comedic pacing going so that there are n't any noticeable times where the film drags .
the only problem i saw was their use of a couple of musicians who provide segues between several key scenes .
they appear out of nowhere and actually sing plot - relevant information right toward the camera .
it 's a device which was amusing for about three seconds when they opened the film .
after that it got a little annoying , and it 's unfortunate that those spots interrupt what would otherwise be a smooth flow .
fortunately , filled with sight gags , humorous lines , and solid comedic acting , there 's something about mary
will still have you laughing after you leave the theater .


Output: P