In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

Example Input: Review: I think this is almost all I need to say. I feel obliged to explain my actions though. I've basically never seen such an armateur production, and I mean that in all senses of the word. Although the physical camera work, boom MIC operation and other technical aspects of this film are laughable, unfortunately its not the only areas.Unlike some classic independent films that have been saved by their scripts great characterization and plot, this unfortunately has an awful script, awful acting and worst of all, awful annoying characters.It's a crime that for the every independent film that gets, distribution like Haiku Tunnel, there's a 101 other indie films that died silent deaths. I don't know who the Kornbluth brothers know at Sony, but that can be my only explanation as to how this amateur family production ever got distribution. I'm quite bemused as to why they picked this up.The ONLY part of this film that holds out any intrigue is its title. However, the reason for that is even a let down. I hope this review will save a few people that may be intrigued by this films title from going to watch it. I've seen a lot of films in my time, and I'm very forgiving when in the cinema, but this was too much. I'll never forget 'tunnel', for marking an important point in my life experience of cinema. Shame it's such a low point. Question: is it a positive review?
Example Output: no

Example Input: Review: This is a film which had eluded me thus far but, now that I've watched it, emerges as one of the major entries in the noir style. As usual with the DivX format, the viewing was far from ideal  marred by the occasional video and (mostly) audio glitches  but, given that the film is still unavailable on R1 DVD, this will have to do for the moment. Since the film's reputation is quite high within the genre itself, I assume that the reason behind this oversight is because it does not have a well-known actor in the lead.Anyway, the belated entrance of the film's nominal star  Franchot Tone  packs quite a wallop (especially as he is shown to be the villain from the first)! Tone was a underrated actor  he was rarely given meaty roles, and this may well be his best (making his paranoiac both fascinating and believably dangerous). The female lead  Ella Raines, who would later feature in BRUTE FORCE (1947) as well as Siodmak's own THE SUSPECT (1944) and THE STRANGE AFFAIR OF UNCLE HARRY (1945)  is quite lovely and capably takes on the role of the distraught secretary out to prove her convicted boss (Alan Baxter) innocent of his wife's brutal murder. Other key supporting parts are essayed by Thomas Gomez as the initially bullying but ultimately sympathetic police investigator, and Elisha Cook Jr.  the genre's quintessential fall guy  as an ill-fated "ladies' man" of a percussionist.Like BRUTE FORCE's Jules Dassin, Siodmak was on a noir roll at this point in his career and this film definitely benefits from his superb direction  all tilted angles and terrific set-pieces, including the justly celebrated jazz sequence in which Cook manically beats on his drums in a sexual frenzy brought on by the sluttishly-attired Raines (who is putting on an act to get his attention and eventually drive him to confess that he withheld evidence at the inquest which could spring her resigned lover from jail). Another great, lengthy sequence is the one in which Raines follows a bartender (another uncooperative witness) around the streets of New York  which results in his being mowed down by a car! Notable, too, is the trial sequence  which is entirely depicted through the audience's reaction so that judge, jury, witnesses and D.A. are never actually seen (although the judge's voice is recognizably that of veteran character actor Samuel S. Hinds). The centerpiece of the film is the scene in which Gomez and Tone discuss the nature of the criminal involved, with the inspector's put down of the latter as mentally insane giving the initially smug Tone "dizzy spells". The suspenseful climax finds Raines alone with Tone in his apartment, where she discovers evidence of his guilt  and he confesses to having had an affair with Baxter's wife, but killed her when she wouldn't desert her husband for him.By the way, I hit upon a little goof in the film: while the story is clearly set in 1943, I noticed that during the taxi cab ride towards the beginning of the film  in which Alan Curtis escorts the titular lady to the theater  the establishing shot of New York (comprising clearly of stock footage) features a marquee promoting Laurel and Hardy's 1938 musical comedy, SWISS MISS! Incidentally, famed mystery writer Cornell Woolrich wrote the original novel on which this was based using a pseudonym. Question: is it a negative review?
Example Output: no

Example Input: Review: I read Rice's novel with interest, and became quite enchanted with its characters and heartbreaking tale based on historical truths.However, I was simply APPALLED at this disastrous adaptation. The casting was based merely on physical appearance, and not acting talent (with the obvious exception of Peter Gallagher, who was neither blond-haired, or able to act his way out of a wet paper bag). The cast's embarrassingly clumsy and inconsistent attempts at affecting a French accent was hilarious, but not in an entertaining way. I found myself wincing through this muddled and melodramatic tripe, and was surprised I made it to the end.A warning to fans of the novel - stay away from this one. Question: is it a negative review?
Example Output:
yes