In this task, you are given product reviews about dvds. The goal is to classify the review as "POS" if the overall sentiment of the review is positive(the reviewer is satisfied) or as "NEG" if the overall sentiment of the review is negative(the reviewer is not satisfied).

Q: Great Documentary ! . The 6 Episodes really showed how Broadway evolved and how it became what it is today. IT has great footage from all sorts of Broadway Productions from 1893 - 2004. It empisises the great Broadway producers & compsers too. The Special features are very nice too. If your a fan of Broadway buy the Dvd set , The Cd Set & the book they are all great

A: POS
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Q: Not as good, but still watchable... . This second sequel to "Darkman" maintains the visual style of the first two, has great music, a few good action moments, and a very good performance from Arnold Vosloo as the hero. These are the four things I liked most about "Darkman 3: Die Darkman Die," which isn't a bad movie, but it's not very good either. I'm not only a fan of Darkman, I'm also a fan of Sam Raimi, Liam Neeson, and Arnold Vosloo. Given this, I was sad to see Raimi and Neeson leave the franchise, but am thankful for Vosloo's performance. He does a great Darkman/Westlake and the sequels, especially this movie, have him to thank. While the second was a great follow-up, this film is a little on the stupid side. Jeff Fahey, overacting in every scene, plays bad guy Peter Rooker, who is a drug dealer who is after Darkman when a large sum of money is stolen from him. The plot digs deeper into Rooker's life and soon Darkman is disguising himself as Rooker and befriends his wife and daughter. Darkman soon makes a vow that he will not get involved with the family, that he is only after Peter. But soon Darkman's light side gets the better of him. The movie is bleeding with predictable moments and painfully awful one-liners. Thankfully, director Bradford May keeps a dark, violent tone to the movie and mostly keeps the movie serious about itself. There are a few unintentionally funny moments, more so than in the second, and this hurts the movie a little. I suppose the reason to see this film is if you liked the first two. I did, and gladly added this one to my collection. I have no regrets about it, but take fair warning: only fans will enjoy this one. Everyone else will be in the dark

A: NEG
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Q: Domestic Life Well-Acted, But with Little Insight . Some people praise `We Don't Live Here Any More" as one of the realistic portrayals of two married couples, tired of lies, not really knowing what to do. It is also true that Naomi Watts and Mark Ruffalo have exceptional talent and here again they would not disappoint you with their fine acting. The film as a result looks like a filmed version of some John Updike novels (actually it is based on two shorts by Andre Dubus, whose `Killings' became `In the Bedroom').    But sorry, Updike is not my favorite author, and the film's touch is too desultory for me. No, `desultory' is not the only real problem because I remember I was fascinated by the desultory realism of much more successful `In the Bedroom.' The real flaw of `We Don't Live Here Any More' is its dullness and all too familiar things about the four principal characters.     Mark Ruffalo's character Jack is having affair with Naomi Watt's Edith and Jack's wife (Laura Dern) already suspects, or knows that his husband is cheating. But the affair means here uninspired, clichéd sex scenes between Edith and Jack among the woods in Oregon, with Naomi Watts and Mark Ruffalo having sex against a tree ala `Fatal Attraction.' Edith husband Hank (Peter Krause) teaches creative writing, and has just one book published. The alcoholism of Laura Dern's character is suggested in the most obvious way (you know what), but in the first place why didn't the filmmakers realize that her portrait as poor housekeeper with alcoholism is already a big cliché?    Among these recycled materials, there are a few well-observed descriptions that deserve attention. It is the brief, but efficient study of the children in both families, and the film shows how these children accept the reality of the marriage that is falling apart. These clever, insightful moments, however, do not last long in the film, for it soon returns to the typical representation of the domestic life in America.     We don't want any big surprises, or twists and turns in this kind of film because we know we have none from the beginning. It is true that `We Don't Live Here Any More' presents a convincing portrait of boring and stagnant marriage in a slumbering small town in America, but the film goes nowhere from there, missing every chance for the more incisive study of the characters.

A:
NEG
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