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

Ex Input:
some movies ask you to leave your brain at the door , some movies ask you to believe in the impossible to really have a good time .
playing god asks just one simple , eensy , teensy thing so it can fully entertain you ,
it 's accomplished in just four easy to follow steps : crack open your skull , scoop out your brain , squish it under your foot several times and reverse steps two and one .
congratulations , you now have all the necessary requirements to fully enjoy a whole lot of nothing .
some movies fail at the box office but you manage to see why the producers thought it could have been a good movie , others are simply good ideas that are badly executed .
then there 's playing god , which enters the esteemed category of movies which seem to have grown from the union of a drunk director , actors satisfied in the knowledge that this horrible flick will have no lasting impact on their careers and a bunch of rip - offs
( or homages as they like to call it ) from other , better movies that end up looking like an unflushed toilet .
harsh ?
maybe .
justified ?
hell yes !
this is a movie that is not just satisfied in ripping off other movies but feels the need to remind us of that fact every ten minutes .
for example , a gunman bursts into a garden with the two guns in his hands firing away .
this does look moderately kool , but the camera lingers on the actor for so long you can almost hear the director yelling : " oooh , look look !
john woo !
two guns blazing !
slooooow motion ! "
and if that was n't enough , you can also hear the script grunting under the effort it must take to try and make every single line of dialogue sound like something deep and meaningful like in a tarantino movie .
poor timothy hutton gets to deliver most of the corny lines , you have to admire the effort he puts into it , this guy deserves better .
unlike most movies this one does not suffer from " stupid bad guy " syndrome , just to make things a little different this time
we get stupid heroes .
example : duchovny manages to distract a bad guy by making him go into the bathroom to get some bandages .
now the bad guy is , like , stoned , man , so he leaves his shotgun next to our hero .
( term used as loosely as possible ) survival instincts and a good dose of common sense seems to suggest grabbing the shotgun , which our hero does , but only after contemplating it for about thirty seconds .
even when he does grab it he seems unsure how to hold it , going so far as to actually wonder if he should place a finger near the trigger .
mind you , i 've never fired a shotgun in my life but believe you me that the bad guy would be missing most of his vital organs , be he stoned or not .
some will argue that our hero does not have a killer instinct , the hell with that !
two fbi guys have just been shot in front me , along with one bad guy and the other looks like he might go ballistic at any second .
solution ?
boom !
i 'll take the time to feel sorry about it later
thank you very much .
another prime example of the idiot hero syndrome
: our boy duchovny needs to reach his girl before something bad happens to her .
he knows the head bad guy has her on the tenth floor of a building and that he might be running into a room full of people with itchy trigger fingers .
he still has his shotgun , bring it along
you say ?
no thanks , i 'll just ditch it in the back of my car .
and the real kicker is this : when he reaches the room and people start shooting at him he has the nerve to look surprised ! while we are on the subject of getting shot , why in hades were those fbi guys sitting with their backs to the door ?
i 've got no formal training but
even i know you never sit with your back to the door .
ask mr .
wild bill , the first and only time he did not sit with his back to a wall cost him his life .
this is the major problem with this movie , any mook could have thought of a hundred ways to make it better .
is it so much to ask that hollywood actually put a little common sense into their characters ?
for instance : our heroes hide at duchovny 's summer home , now the bad guys could come knocking at any moment .
ok , this time our hero does get himself a gun and has it at his side most of the time .
but see , our hero is a drug addict and guess what ?
he chooses now to go clean and suffer through dt .
oh sure , he 'll be really impressive when the bad guys come calling .
going clean is really honorable of him , but i would have waited until i did not need to be conscious or being able to fire a gun .
for an enjoyable performance by timothy hutton , plot holes the size of godzilla , getting our intelligence insulted and several " oh come on !
" moments .

Ex Output:
N


Ex Input:
plot : a little boy born in east germany ( named hansel ) loves the american music .
one day , he gets the opportunity to meet and marry an american g .
i .
,
but first , he must get a sex change ( enter hedwig ) .
once married , the two move to the states , but quickly thereafter , get a divorce .
at that point , hedwig starts writing music and meets another confused boy , who soon turns into a star .
that boy also turns his back on hedwig , and it is n't long before hedwig puts together his / her own band and tours the states via seafood restaurants .
this is the story of his / her life , told via flashbacks and musical numbers .
critique : an artsy - fartsy musical with great songs and a superb performance by john cameron mitchell , does n't really come together as a whole , with over - the - top symbolism , incoherence and too much pretension to retain my interest all the whole way through .
in fact , this is n't so much of a realistic , articulate , behind - the - scenes look at the rise of a rock ' n roll star , as it is an ambiguous , overly poetic and incomprehensible struggle of a man , his sexuality and his identity as a whole person on this planet .
i guess that i was expecting the former going in .
the film is somewhat interesting to a point , but i was personally never able to involve myself too much , as the basic symbolic and incongruent nature of the film left me feeling cold and distant .
but it is definitely tuned to a certain type of audience .
chances are that if you are a fan of the wall , the rocky horror picture show or even priscilla , queen of the desert , the elements tangled in this movie will likely strike your fancy ( some of the characters in this film even ask the audience to sing along at some point , and provide the lyrics of their song , on - screen ) .
well , i personally do n't care for those films , and did n't really get into the whole " show " atmosphere of this movie either .
i guess i might 've looked at it all too literally , but like i said earlier , i just did n't care enough about the characters to delve into the " so the butterfly represents his freedom ?
" side of things .
all i know is that the film left me with many questions unanswered and did n't make me feel any more fulfilled .
what was hedwig 's relationship with that other member of his band ( with the beard ) ?
what happened with hedwig and tommy gnosis at the end of the movie ?
( was that an actual sequence or a fantasy ? )
what ever happened to the lawsuit ? and more . . .
all of which were part of the film and interested me somewhat .
if the only idea behind the film was for the main character to uncover his / her sexuality , then that 's one thing , but as many of the relationships and situations presented themselves in this movie , i wanted some resolution to those pieces as well .
i did n't get it .
the film 's humor also did n't tickle my funny bone either .
then again , i 've seen many a film in these art - house theatres in which patrons are rolling down the aisles with laughter , while all i see is a tiny bit of whimsy on the screen .
some of these films are also better enjoyed with the added " atmosphere " of a plant called marijuana , and i can certainly see how this movie ingrains within itself some nifty visual elements , in order to jazz up that experience .
but being sober as i was and expecting a coherent , funny , musical with a transsexual twist ,
i did n't leave the theater very satisfied .
i came out having watched an existential story of a confused man caught up in a musical lifestyle , wrapped in metaphors , dramatics and more questions than answers .
i will , on the other hand , definitely hand some props out to the lead in this film , john cameron mitchell , who is also the man who wrote , directed and created the play on which this movie is based , and the tunes , which will likely be enjoyed by anyone who digs the sex pistols , david bowie and the whole 70s glam - rock scene .
note :
btw , it seems as though pretty much every single " mainstream " critic in the united states loved this movie from top to bottom ( and thought that it was really funny to boot ! )
, so you might want to take that into consideration yourself .
but having said that , the main reason that i started this dinky website in the first place was because films like this would sometimes be uniformly applauded by the " official " critics , while i , a regular " joblo " in the audience , just would n't get what all the fuss was about
.
this movie is a perfect example of why i continue to write movie reviews .
where 's joblo coming from ?
moulin rouge ( 8/10 ) - grease ( 8/10 )
- everyone says i love you ( 5/10 ) - the opposite of sex ( 8/10 ) - dancer in the dark ( 5/10 ) -
o brother , where art thou ( 7/10 ) - love 's labour 's lost ( 8/10 )

Ex Output:
N


Ex Input:
note : some may consider portions of the following text to be spoilers . be forewarned .
during the three years since the release of the groundbreaking success pulp fiction , the cinematic output from its creator , quentin tarantino , has been surprisingly low .
oh , he 's been busy -- doing the talk show circuit , taking small roles in various films , overseeing the production of his screenplay from dusk till dawn , making cameo appearances on television shows , providing a vignette for the ill - fated anthology four rooms -- everything , it seems , except direct another feature - length film .
it 's been the long intermission between projects as well as the dizzying peak which pulp fiction reached which has made mr .
tarantino 's new feature film , jackie brown , one of the most anticipated films of the year , and his third feature film cements his reputation as the single most important new american filmmaker to emerge from the 1990s .
things are n't going well for jackie brown ( pam grier ) .
she 's 44 years old , stuck at a dead - end job ( " $ 16 , 000 a year , plus retirement benefits that are n't worth a damn " ) as a flight attendant for the worst airline in north america -- and she 's just been caught at the airport by atf agent ray nicolette ( portrayed with terrific childlike enthusiasm by michael keaton ) and police officer mark dargus ( michael bowen ) smuggling $ 50 000 from mexico for gun - runner ordell robbie ( samuel l . jackson ) , who has her bailed out by unassuming bail bondsman max cherry ( robert forster ) .
the loquacious ordell , based out of a hermosa beach house where his horny , bong - hitting surfer girl melanie ( bridget fonda ) and agreeable crony louis gara ( robert de niro ) hang out , operates under the policy that the best rat is a dead rat , and he 's soon out to silence jackie brown .
meanwhile , the authorities ' target is ordell , and they want jackie to help them by arranging a sting to the tune of a half - million dollars .
only through a series of clever twists , turns , and double - crosses will jackie be able to gain the upper hand on both of her nemeses .
although jackie brown marks mr .
tarantino 's first produced screenplay adaptation ( based on the elmore leonard novel " rum punch " )
, there 's no mistaking his distinctive fingerprints all over this film .
while he 's adhered closely to the source material in a narrative sense , the setting has been relocated to los angeles and the lead character 's now black .
in terms of ambiance , the film harkens back to the 1970s , from the wall - to - wall funk and soul music drowning the soundtrack to the nondescript look of the sets -- even the opening title credit sequence has the echo of vintage 1970s productions .
the opening sequence featuring ms .
grier wordlessly striding through the lax , funky music blaring away on the speakers , is emblematic of films of that era .
the timeframe for the film is in fact 1995 , but the atmosphere of jackie brown is decidedly retro .
of course , nothing in the film screams 1970s more than the casting of pam grier and robert forster as the two leads , and although the caper intrigue is fun to watch as the plot twists , backstabbing , and deceptions deliciously unfold , the strength of jackie brown is the quiet , understated relationship developed between jackie and max ; when they kiss , it 's perhaps the most tender scene of the year .
tenderness ?
in a quentin tarantino film ?
sure , there 've been moments of sweetness in his prior films -- the affectionate exchanges between the bruce willis and maria de madeiros characters in pulp fiction and the unflagging dedication shared by the characters of tim roth and amanda plummer , or even in reservoir dogs , where a deep , unspoken bond develops between the harvey keitel and tim roth characters -- but for the most part , mr .
tarantino 's films are typified by manic energy , unexpected outbursts of violence , and clever , often wordy , banter .
these staples of his work are all present in jackie brown , but what 's new here is a different facet of his storytelling -- a willingness to imbue the film with a poignant emotional undercurrent , and a patience to draw out several scenes with great deliberation .
this effective demonstration of range prohibits the pigeonholing of mr .
tarantino as simply a helmer of slick , hip crime dramas with fast - talking lowlifes , and heralds him as a bonafide multifaceted talent ; he 's the real deal .
this new aspect of mr .
tarantino 's storytelling is probably best embodied in a single character -- that of the world - weary , sensitive , and exceedingly - professional max cherry , whose unspoken attraction to jackie is touching .
mr .
forster 's nuanced , understated performance is the best in the film ; he creates an amiable character of such poignancy that when he gazes at jackie , we smile along with him .
much press has been given about the casting of blaxploitation - era icon pam grier in the lead , with the wags buzzing that mr .
tarantino may do for her
what his pulp fiction did to bolster john travolta 's then - sagging career .
as it turns out , ms .
grier is solid in the film 's title role , although nothing here forces her to test her range .
i do have to take exception to the claim that this film marks her career resurrection , though -- she 's been working steadily over the years , often in direct - to - video action flicks , but also in such recent theatrical releases as tim burton 's mars attacks !
and larry cohen 's original gangstas ( where she first teamed up with mr . forster .
)
of course , it 's true that her role here was a godsend -- a meaty a part as this is rarity for * any * actress , let alone one of her age and current status in the industry .
while jackie brown may disappoint those looking for another pulp fiction clone , it marks tremendous growth of mr .
tarantino as a director whose horizons are rapidly expanding , and whose characterizations have never been better .
and while the film 's narrative does n't really warrant a running time of 155 minutes , it 's filled with such sumptuous riches , ranging from the brashness of the vivid soundtrack to entertaining , inconsequential conversations between the characters , that there was n't an unengaging moment .
with an impressive trio of feature films under his belt , it 'll be interesting to see what he tries next .

Ex Output:

P