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

jean - claude van damme movies tend to be , if nothing else , a lot of mindless fun .
his latest film , " knock off , " skips on the fun part leaving a wildly incoherent exercise that is , well , simply mindless .
you ca n't really blame van damme .
no one , i suspect , has ever expected " the muscles from brussels " to contribute a heartfelt performance brimming with introspection and delicate shades of gray .
and even his sidekick co - star , " saturday night live " alumnus rob " makin ' copies " schneider , does what 's expected of him , although neither appear to want the role of straight man .
no ,
the problem with the film is its direction .
the first five minutes of the film are incomprehensible . . .
and it goes downhill from there !
five hundred characters , it seems , are introduced within the first fifteen minutes .
van damme does n't land his first kick until after thirty -- too late for most action fans -- and by the time the hour mark has rolled around ,
your jaw will be on your cup holder and you 'll be wondering why you elected to spend seven dollars on this mess
.
director hark tsui , whose previous film was the van damme / dennis rodman teamed " double team , " films at such a frenetic pace that it 's hard to know what 's going on
, who 's on whose side , and what the point of all this is .
faster than you can yell " fruit stand !
"
we 're watching a crazed rickshaw race with schneider being bounced along by an energetic van damme .
when schneider starts whacking van damme in the behind with a four - foot eel while enthusing " move your beautiful big ass , " the movie takes an unprecedented turn to the bizarre .
every now and again " knock off " will deliver some truly ingenious directorial flourishes -- inventive camera shots and angles , wild rides down gun silencers and from the tops of buildings to the sprawling street below , revealing cut - ins within the frame -- but they all happen too quickly , and within such a furious frame of reference , that they 're wasted . if only hark could have slowed things down just for a minute . if you 're interested in the plot , you 're better off reading a capsule review than trying to extract any meaning from the on - screen shenanigans : " jean - claude van damme plays a shady bluejeans manufacturer who uncovers a russian mafia plot to terrorize the world with " nanobombs " hidden in cabbage patch knock - offs .
maybe .
with paul sorvino .
"
a more accurate summary would be " jean - claude van damme bums around hong kong failing to avoid large , blatant coca - cola product placements .
"
the fact that the film is staged during hong kong 's last days under british rule gets some lip service but does n't figure in at all .
perhaps " knock off " 's most intriguing credit is that ron and russell mael composed the frenzied music score .
some of you might remember the mael brothers as the ' 80s synth pop duo sparks ; their contributions here are as confused as the accompanying action-- " kimono my house " indeed !
like the cheap jeans and " pumma " sneakers manufactured in hong kong , van damme 's latest is a real phony .
N

it shows that america remains ambivalent over the nature of its political system .
no major surprise , when j .
s .
mill in his victorian classic on liberty could not make up his mind over liberal democracy either .
the americans are wrought by the archetypal paradox under which they exist , the supreme contradiction between the right of the one and the right of the majority .
small wonder that hollywood 's most compelling movies have oft been on the struggle of the individual - underdog against some larger collective oppressive - witness braveheart , born on the fourth of july , rocky , first blood , clear and present danger , jfk
, the list goes on .
there 's little of that in singapore - we are barred access to playboy and penthouse both on and off line , though the government 's been long worried about the younger people getting " americanised " and advocating individual rights and parliamentary opposition .
the people vs .
larry flynt locates the political debate within the greatest social taboo in america - sex .
does pornography have a right to exist and circulate ?
larry flynt , the publisher of hustler magazine , thinks so , and obviously so too the u . s . congress which last month threw out a bill to curb pornography on the net .
but even with such actions , americans remain undecided .
the oscars apparently shunned the movie because it was an embarrassing and sensitive livewire .
what they have ignored is actually a great picture .
woody harrelson as the lead character reprises his role as a to - hell - with - morality , to - hell - with - the - law , and to - hell - with - the - system anti - christ that we last saw in natural born killers .
and he is outrageous and convincing as a nihilistic atheist who nonetheless loves his ex - stripper wife dearly .
the latter is played with abandon , conviction and sensitivity all at once by courtney love , who is the real star of the show and really snubbed of an academy award best actress nomination , if not of the award itself
.
edward norton plays their jerky lawyer .
the relationship between harrelson and love brings out another great paradox - superficially they are immoral outcasts who 've had it coming ; woody gets shot and becomes paralysed from the waist down , and courtney dies of aids .
god 's damnation .
but in the powerful love they have for each other , each standing by the other in turn , the two leads highlight the question how much is the nihilist still a moralist and ( in the american context ) a christian , if they can love and care , and feel just like anyone else on a personal level .
friedrich nietzsche once talked about how the atheist must uncover for himself the full consequences of atheism by ridding himself of all moral - christian influences .
to go beyond good and evil .
this is a great picture , no doubt , and i love it personally .
because it is moving , funny
, ends with open american optimism blah blah .
but i like it and admire it because it comes from a fine american tradition that dares to raise difficult questions , and call into doubt ideas and doctrines that otherwise are used as catchphrases .
there are times when movies go beyond the story they tell and reflect something of hidden realities .
this movie is not so much about larry flynt , but about americans and american society .
P

plot outline - wendy ( samantha press ) , a jazz singer , loves mack ( hugo race ) a criminal and wanna be rock singer who 's planning a bank heist .
mack is also being tailed by a couple of cops , one an inexperienced rookie ( dominic sweeney ) , the other ( john flaus ) a worn out veteran who frequents wendy 's jazz club .
they 're tailing mack , because he has an audiotape that may show evidence of governmental corruption .
meanwhile wendy 's sexually awakener , fifteen year old sister ( rebecca elmaloglou ) has moved in with her , and is secretly watching mack and wendy 's late night love trysts ?
much zaniness ensues the review :
main problem first - about 2 % of rood rock star to actor conversions in filmdom ever really work .
unfortunately , trying to cast hugo race as a violent , sexy criminal falls into the " what the hell where they thinking " category
that takes up 98 % of the rest .
but , hell , it 's not as if he 's the only problem in this well - intentioned but ultimately below average aussie thriller .
leads , race and samantha press are wooden and dull , hampered by some unfortunate attempts at sexy dialogue early on .
though they do manage some heat later in their love scenes , helped , no doubt by them keeping their mouths shut .
the film suffers every time the story shifts back to these two . which is unfortunately , the other main story is n't any great shakes either .
the second part , concerning two cops , political corruption and that elusive tape is incredibly muddled .
at many points during the movie i had no idea what was going on , a situation that did n't improve on repeated viewing .
there is no doubt that this film 's achilles heel is its script .
as for the rest of the cast , it 's a mixed bag .
john flaus , one of australia 's most criminally underused actors , is in top form as the withering , alcoholic jazz fan cop , who may or may not have sold out to the highest bidder .
although he falters at one point , when the script calls for him to get up on stage and deliver a drunken beat sermon , but believe me , they way it was written , no one could have pulled it off .
dominic sweeney is fine , though he seems to be uneasy in front of the lens but he really is n't given a whole lot to do .
pre home and away elmaloglou is pretty good as the inquisitive jojo , but her character seems extraneous to the story , well , at least until the final scenes .
i must admit , in too deep does have some impressive qualities , not the least of which is it visual element .
cinematographers mark gilfedder & peter zakharov have achieved the almost impossible by making melbourne look like a sweat drenched tropic city , which is akin to turning london into san paolo .
the bar is an oppressive red , like all of it 's patrons are being baked while they drink , outside it hazy orange by day and cool blue by night .
if only deborah parson 's script could have supported this idea better .
having two director 's ( colin south & john tatoulis ) does n't help either , the most glaring example of which is the final retribution / fight scene , where for some reason the camera pulls away from the onscreen action , and more importantly it does n't pull away to anything else .
it just stays static as the fight happens in the distance .
it has no reason to it ; it 's just bad direction .
and , ultimately , that is what sums up in too deep
, it 's tries to be good , and you want it to work , but , it 's just lacking the talent behind it , that it needs to succeed .

N