In this task, you are given a review of movie. Your task is to classify given movie review into two categories: 1) positive, and 2) negative based on its content.

Input: Consider Input: Spoilers? Maybe a few details, but nothing too plot related. Not like it would matter with this movie. Air Rage blatantly rips off the mid-air infiltration premise of Executive Decision. Ice-T leads a team of four "elite" commandos who wear baggy black shirts that we can only imagine must conceal invisible body armor as their idiotic tactics (similar to what 3rd graders use when playing Star Wars on the playground) lead them to absorb a hail of gunfire. What entertained me the most about this flick was the use of look-alike has-been actors. You'll immediately recognize Cyril O'Reily as someone who once acted in a movie that you really liked, though it was so long ago that you probably won't be able to place it (it was Porky's). Here Cyril plays a decent knock-off of a Bill Paxton character. Most Hilarious is porker Gil Gerard, who's so fat that you will never recognize him as TV's Buck Rogers. Instead of evoking his mildly heroic character past, Gerard gives us a passable performance of the crusty fat tough guy persona, which was clearly imagineered for John Goodman. Finally, Alex Cord gives us a nice hybrid look-alike performance as a Chuck Connors/Kirk Douglas type. In the 10 years since New Jack City, Ice-T's acting has deteriorated remarkably. It's not acting so much as regurgitation of lines that he might have actually memorized. One of the items that plays into this movie is a CD-ROM of classified information. It's being hand carried, and it's apparently and unbelievably not encrypted, despite the security-savvy aura of Gerard's NSA character. What a joke. I'm severely doubting that the information purported to be on the CD would ever even all be assembled into a portable format. Despite being in a closed aircraft without silencers, the gunfire is about as loud as canned air, and causes nary a person to flinch, so apparently no foley budget. The assortment of weapons chosen is pretty funny. The flight attendant's use of a coffee pot is about the most realistic depiction of violence in the film. When she takes intuitively to the mini-Uzi pistol, which has got to be one of the worst pistol designs ever, that's just too stupid. A true elite team would carry MP-5s for this type thing or maybe SOCOMM .45s, or even customized Hi- Powers if they were really old school, or maybe something FN 5.7 if new school... The lame-o standard issue 92Fs are totally unbelievable, having lost most of their cool after Lethal Weapon I. The bad guys, supposedly experienced soldier of fortune types, have an assorted mixture of absurdity, like the aforementioned mini-Uzi pistol and a Tec-9 with the infamous non-functional barrel extender that isn't a silencer. There was one touch of realism on which I would like to correct the other reviewers: The flight attendant and Ice-T did lower the craft to 10,000 feet for "breathable air" before they opened the door. And I also got the impression that the flight attendant was NOT able to get the door closed, that she basically just gave up on that point. As far as the landing, there was no mention of flaps until about 2 seconds before touchdown. Sigh. Only the Dukes of Hazard eluding Roscoe P. Coltrane at the "pass" could shame this movie for use of stock footage. They obviously chose the incredible (and retired) SR-71 because they couldn't get stock of an F-117. Aside from the fact that they were mothballed already in 2001, let's also forget for a moment that the SR-71 is not a pure stealth aircraft in the sense of the B-2, and that at point blank range... Well, I'm no expert, but I'm having doubts as to whether it would be invisible on Radar. As others have pointed out, the repeated references to "F-15s" when they were showing F -16s was laughable. Details of the 747 were pretty stupid. No airline would put that few passengers on a 747 to begin with, not to mention everything else that was idiotic about it. Pay attention to the use of exposed electrical wiring. Wow. What a show. Catch it on Stars or something. Don't pay to rent it, but do watch it for laughs. In contention for worst movie ever, right up there with No Holds Barred, which at least had some originality.

Output: negative


Input: Consider Input: This is not a boring movie, the audience might stay on its chair fascinated by this selfish character, Miles Berkowitz, both film-maker and actor here. The storyline is simple : after a divorce and ten years of a hollywoodian non-career, the author plays is quest for love in front of the camera. The first question is about how true is all that : what is written, what came by chance ? Both answers, "yes" or "no" portrays M.Berkowitz as a low average human beeing. If you look for a self-fiction about love like this one, I recommand you to read some independant comic books : Chester Brown, Joe Matt...Beside of this, I felt quite disappointed to hear so much against my country, France. I know american people usually say that the french are arrogant (that might be true then), etc., and for sure the french (and the whole world) have lots of griefs against america, but why so much hate ? Don't think I couldn't like this movie only because of that anyhow.

Output: negative


Input: Consider Input: I had never heard of Leos Carax until his Merde segment in last years Tokyo, and his was easily the stand-out the film's three stories. It wasn't my favorite of the shorts, but it was the most unique, and the most iconic. "The Lovers on the Bridge" was the first of his full length features I've seen, a virtuoso romantic film that uses image and music to communicate an exuberant young love that overflows into the poetic. Though he's classified as a neo-nouvelle vogue, his films owe as much to silent cinema as the 60's experimental narratives. His movies are closer to Jean Vigo in "L'atlante", Jean Cocteau, and Guy Maddin, than Godard and Truffaut.In Boy Meets Girl Carax's 1984 debut he uses black and white and the heavy reliance on visual representation to display emotional states. He combines the exaggerated worlds of Maddin, but based in a reality that never seems quite stable like Cocteau, but by virtue of its expressions it becomes more accessible, emotional, and engaging like Vigo's movies.The story of Boy Meets Girl is simple, and similar to Carax's two following films which comprise this "Young lovers" trilogy. A boy named Alex played by Denis Lavant (who plays a character named Alex in Carax's next two movies), has just been dumped by his girlfriend who has fallen in love with his best friend. In the first scene he nearly kills his friend on a boardwalk but stops short of murder. He walks around reminded of her by sounds of his neighbors having sex, and daydreams of his girlfriend and best friend getting intimate. He steals records for her and leaves them at his friend's apartment, but avoids contacting either of them directly. He wanders around and finds his way to a party, where he meets a suicidal young woman, and the film becomes part "Breathless" and part "Limelight".Later he is advised by an old man with sign language to "speak up for yourself...young people today It's like they forgot how to talk." The old man gives an anecdote about working in the days of silent film, and how an actor timid off stage became a confident "lion" when in front of the camera. Heres where the movie tips its hand, but the overt reference to silent film is a crucial scene, since it overlaps the style of the film (silent and expressionist), with the content (a lovelorn young man trying to work up the courage to say and do the things he really wants to). Though Alex is pensive at first and a torrent of romantic words tumbling out of him by the end, he is the shy actor who becomes a lion thanks to the films magnification of his inward feelings which aren't easy to nail down from moment to moment, aside from a desire to fall in love.There is a scene in the film where Alex retreats from the party into a room where the guests have stashed their children and babies, all crying in a chorus that fills that room, until he turns on a tape of a children's show making them fall silent. Unexpectedly due a glitch the TV ends up playing a secret bathroom camera which reveals the hostess sobbing to herself into her wig about someone she misses. Even as Carax is self-reflexive and self deprecating of the very kind of angst ridden coming of age tale he is trying to tell (the room full of whining infants), he's mature enough to see through the initial irony to the lovelorn in everything the film crosses. Even the rich old, bell of the ball has a brother she misses. In another scene an ex astronaut stares at the moon he once walked on in his youth while sipping a cocktail in silence.Though indebted to films before talkies, Carax is a master of music, knowing when to pipe in the Dead Kennedy's "Holiday in Cambodia", or an early David Bowie song, the sounds of a man playing piano, or of a girl softly humming.In Boy Meets Girl, when someone gets their heart broken we see blood pour from their shirt, when a couple kiss on the sidewalk they spin 360 degrees as if attached to a carousel, when Alex enters a party an feels out of place, its because the most interesting people in the world really are in attendance; like the famous author who can't speak because of a bullet lodged in his brain, or the miss universe of 1950 standing just across from the astronaut. This film is the missing link between Jean Piere Jenuet, Michel Gondry, and Wes Anderson, whose stylistic flourishes and quirky tales of whimsy, all have a parallel with different visuals, musical, and emotional cues in these Carax movies.Every line of dialog, every piece of music and every effect and edit in this movie resonated with me on some emotional level, some I lack words to articulate. There are many tales of a boy meeting a girl, but rather than just explore the banal details of any particular event this movie captures the ecstatic truth of adolescent passion and disappointment. The other movies you want to watch can wait. See this first. If I were to make films, I would want them to be like this, in fact I wish all films were like this, where the ephemeral becomes larger than life, and life itself becomes a dream.


Output: positive