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

pollock starring ed harris , marcia gay harden , tom bower , jennifer connelly screenplay by barbara turner and susan j .
emshwiller , based on the book " jackson pollock : an american saga " by steven naifeh and gregory white smith directed by ed harris
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" how do you know when you 're finished making love ?
"
-jackson pollock to a life magazine reporter on recognizing when you 've completed a painting jackson pollock 's " making love
" quote is famous , but in practically the same breath , he said a more constructive thing , " it 's like looking at a bed of flowers -- tear your hair out over what it means .
"
it took him sixteen words to do as whole dissertations have tried and failed : equate god and abstract art and offer a kind of backhanded comfort to those confused to the point of resentment by the concept .
the biopic _ pollock _ , actor ed harris ' directorial debut
, reflects the second soundbite in how it accepts pollock 's creations as part of the order of things , and should similarly disarm haters of fine art .
arguably more than any other living actor , harris , who also plays _ pollock _ , embodies the archetypal working stiff , and his blue - collar demystification of pollock 's labour - intensive art , both as performer and director , makes for unpretentious cinema .
( from what i know of harris , he , like pollock , was not born gifted or lucky ; instead , a strong work ethic is the seed of his success . )
granted , it 's possible that _ pollock _ will alienate those same viewers perplexed by the imponderable " purpose " of pollock 's splatter series : the common thread between them is a lack of editorializing .
the movie _ pollock
_ is all purposeful gazes and silent exchanges dotted by tantrums , but the motivations are left to our own perceptions .
and it is a sympathetic yet not altogether forgiving film , as illustrated by a disheartening conclusion .
_ pollock
_ encapsulates the period in which he fought a losing battle against personal demons ( alcoholism , depression , and the general attendant miseries of an artist ) while finding a place of subconscious expression .
a brief introduction to pollock 's raging drunk side segues into his getting accosted by a fellow new york artist , lee krasner ( marcia gay harden ,
awarded a best supporting actress oscar for this brilliant portrayal ) , who works from the outside - in , pre - intellectualizing every stroke of her brush .
in a scene after they have moved in together and established adjoining studios , she asks what he hopes to achieve on his latest canvas , grilling him about the interplay of cubism and surrealism until he says , " you paint the fucking thing , " and leaves in a huff .
by the time they we d , she has become his de facto manager ; it is form marrying function and chaos marrying discipline , a most harmonious collision .
( krasner denies him a baby , indicating that it would upset the balance . )
such a union is destined to implode , and i hope i 'm not ruining the _ pollock _ experience by saying that it does .
while it is never depicted as a very romantic matrimony to start -- pollock and wife channel their passions elsewhere -- their symbiosis leaves each other picked dry after several years , and it comes down to krasner suffering one of pollock 's conniptions too many : " you are killing me !
you are killing me !
you are killing me ! "
( aside : harris ' own wife , amy madigan , is unrecognizable and exceptional as gallery diva peggy guggenheim . )
pollock himself moves on to dalliances with younger women like ruth klingman ( the scorching jennifer connelly ) , hoping , one supposes , to catch the revitalizing whiff of youth .
i love jackson pollock 's stuff and
i am enamoured of harris ' _ pollock _ as well .
it 's scrappy and observant ; no coincidence that its minor failings are the occasional invasive flourish , such as jeff beal 's hummable but no less lamentable score -- i ca n't imagine that pollock , or anyone , would paint to this music , which puts filling soundtrack voids ahead of complementing the images .
one of my favourite sequences is an eerily quiet re - enactment of hans namuth shooting that famous pollock footage in east hampton , long island ; the mounting tension is almost comic , as namuth keeps interrupting pollock 's process to reload his camera or take a dinner break .
a more seasoned director might 've been too arrogant to admit that not all artists or mediums are created equal .
P

razor blade smile running as part of the vancouver international film festival played october 2nd and 4th , 1998 .
official release : halloween reviewed by vince yim
` you think you know all about vampires . . .
believe me . . .
you know f
* ck all . '
with these words , we are brought into the world of a sultry vampire seductress by the name of lilith silver ( played by eileen daly ) .
made into an immortal a century and a half ago by the sinister ethan blake , she continues to alleviate boredom with her state of being .
so , what 's an undead girl to do , except squeeze into the tightest fitting clothes possible , get out her guns , seduce a few guys , and kill a few people for money and blood ?
with that out of the way , let me say this .
this film is bad .
this film is really , really bad .
yet somehow , it is strangely enjoyable .
with all the elements of a direct to video horror flick ?
buxom babes , gore , cheesy dialogue , and bad acting ?
any casual film viewer would be more inclined to spend their money on renting innocent blood or going to see blade .
still , it is considered to be one of the finest british vampire film .
agreed , it might be , but is far from being the best vampire flick ever . period .
razor blade smile has some rather high production values , shown by the nice overall tone to the film .
the film is also a bit of a departure from popular vampire lore , with a vampire that can go out in broad daylight without disintegrating , does n't sleep in a coffin ( but leaves one next to her computer ) , and sees religion as the ` opium of the peoples ' ( hence , immunity to crosses ) .
but aside from that , it does n't stray too far away from horror film conventions .
that is , unless that is intentional .
razor blade smile literally goes for the throat , then pumps the wound full of processed cheese .
you ca n't help but laugh when a female vampire gets decapitated and her severed head goes flying into a puddle .
you 'll laugh even harder at the hideously contrived situations ( to distract two female guards , lilith tosses a cellular phone towards them and dials the number ) .
you 'll laugh the hardest when a murder witness recants the tale and suddenly starts sobbing uncontrollably .
and then , there 's the sudden twist ending ( i have enough heart not to give it away ) .
the film refuses to take itself seriously , which is a good thing , as by the time lilith zips up her skin - tight body suit and then unzips it just to show the right amount of cleavage , you 've most likely forgotten the main point of the story .
but in case you really care , she 's been assigned to kill a bunch of people who belong to the so - called illuminati , and she 's leaving a huge mess behind for the police to find . as much as my criticisms , this movie works best as a guilty pleasure or as a film that you watch with your friends and within groups .
almost destined for cult - status , the film 's campy , cheesy overtones
actually work towards the film .
while this may not necessarily be the film you 'd want to be seen watching by yourself , it makes for a fun time at the movies .
P

the happy bastard 's 30-second review big daddy happy gilmore as a father ?
of course !
that 's the latest scenario presented by adam sandler in the new movie big daddy , a movie that 's passable but is n't really considered some of sandler 's best work .
he does n't actually play happy gilmore in the movie , but a variation of him .
he 's sonny coufax , a man who 's living off a settlement he got for a cab running over his foot and his one - day - a - week gig as a tollbooth man ( tollbooth willie ? ) .
his girlfriend ( kristy swanson ) is fed up with his lifestyle and demands a change before she leaves him .
enter a 5-year old kid , who 's mysteriously dropped at his doorstep and intended for his preppy roommate ( jon stewart ) , who 's off in china on a business trip .
from there , coufax basically acts as the kid 's father , teaching him different things like peeing on the side of a building and tripping up skateboarders with sticks .
he even manages to use the kid in a sort of con game to get the attention of a beautiful law office worker ( joey lauren adams ) , but , somehow , he also garners the attention of social services , who are n't particularly pleased with coufax 's actions , as he pretends to be his roommate to keep the kid .
the reason i say it 's not really sandler 's best work is because it gets really sappy towards the end of a movie , showing some odd feelings that somehow did n't really belong in a sandler vehicle .
i mean , it fits the movie 's tone and everything , and sandler handles it well
,
but it 's just oddly placed , that 's all .
fortunately , it does n't destroy the goofy glee path it 's been following and
it still makes you feel good .
sandler does a good job here , as he does in most of his movies .
rob schneider , however , is irritating as his friend , an immigrant delivery boy who ca n't read .
stewart
, in his minor time on screen , is great , and adams remains a joy to watch .
look for steve buscemi as well as a homeless bum .
he 's a hoot .
directed by dennis dugan ( director of happy gilmore ) , the movie remains a good couple of hours to pass the time with .
again , there are faults , but , hey , everyone needs to get emotional sometimes .

P