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

[EX Q]: 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 .
[EX A]: P

[EX Q]: the king and i , a warner brothers animated , musical feature , recycles the classic story of a woman who challenges the heart of a king , with obvious results .
when anna ( miranda richardson ) , a british schoolteacher , travels to saim to educate the king 's ( martin vidnovic ) children , she learns that the king is treating his people unfairly , and must say something to the greedy ruler .
meanwhile , the king 's prime minister ( ian richardson ) , the stereotypical villain , plots to overthrow the king , taking the throne .
the last , and most predictable , main subplot deals with the king 's son ( allen d. hong ) , and his love for a servant , tuptim ( armi arabe ) , and how he conflicts with his feelings , and the ancient laws of saim . not even the lone strong character of anna can save the unbelievably horrible waste of talent , as the king and i 's problems could fill the blank pages of a journal .
i will only note the major difficulties , for it would take pages to elaborate on every detail .
the screenplay , written by arthur rankin , peter bakalian , jacqeline feather , and david seidler , which is based upon the play written by richard rodgers and oscar hammerstein , has some of the worst dialogue written in a film within recent memory ,
as every time the obnoxious king would shout , " etc , etc , etc , " i would cringe .
literally .
speaking of cringing-
i did quite a bit of this during the rather short film , which is a classic display of terrible filmmaking .
besides the repetitive dialogue from the king , on the whole , the songs seem out of place , and unlike the lyrics , are unmagical .
the sole song which is used cleverly is " getting to know you , " which is used as anna shows the children the great outdoors , which they have never been exposed to .
unlike disney animated features , the king and i 's songs do n't add to the film , and are as uneffective as could be .
take the following scenario as an example , as the sheer horror of the king
and i 's music is at its worst .
you 're being hunted by a dragon !
what do you do ! ?
sing a happy song !
martin vidnovic voices the king without effort or emotion-
you hear the saying two negatives do n't make a positive ? believe it !
with the terrible dialogue that the king has , along with his awful voice track , the king is completely unbelievable , only shows mild signs of any personality , and the only thing that changes in the king is that he says " etc . , etc . , etc . , " more and more as the film progresses .
no personality at the beginning of the movie , none at the end .
and where does this character 's personality change ?
hey , i thought anna was supposed to change him !
is n't that the whole plot ?
the prime minister 's hideous sidekick ( darrell hammond ) brings his share of cringes as well
- oh no !
another one of his teeth fell out !
hardy - har - har !
he is supposed to bring laughs for the kidlets , but even at age five i would have cringed while watching him .
by the way this review is going , you may think the reasoning for my hate for this film is due to not liking animated films- hence
why i hate this movie , because the king and i is a disgrace to animation .
animated films , such as 1994 's the lion king and 1998 's the prince of egypt , are among my favorite movies of all time .
the animation team does design their share of well animated settings , so this makes it easier to take my mind off of the annoying king , until i realize that day and night switch back in fourth within seconds .
i have not read the play , or seen the oscar winning , 1956 film adaption , but from what i can tell , the screenplay for the 1999 version completely butchers the play , for the king
and i is never magical , nor interesting .
if it was n't for miranda richardson , who voices anna with feeling , the king and i could earn the title , " worst movie of the decade .
" instead , the king and i will just go down as among the year 's worst .
the bottom line- avoid this movie at all costs .
not even young children , the target audience in this film , will enjoy it . not the slightest bit .
[EX A]: N

[EX Q]: it stands as a moment one will not soon forget : a giant , green ogre flips through the pages of a cliche fairy tale , narrating it with every bit of dull inspiration that the story holds .
this leads one to believe that this serves as the prologue to shrek , dreamworks ' second computer animated feature , but in a pricelessly hilarious bit of cinema , a page of this tale serves as that ogre 's toilet paper .
from this opening moment , one can infer shrek 's defying of all expectations regarding it as a standard , disney - esque fairy tale .
although rampant moments of hilarity dot shrek , the true charm of the film lies in the bold elements of friendship , courage , and acceptance , excelled by outstanding direction , stunning actor voice work , and most importantly , a witty screenplay with more going on than meets the eye .
while shrek features an abundance of humor related directly toward adults , positive friendship values aimed at younger children fulfill the storyline : shrek , the previously mentioned ogre , holds a position of absolute nothingness within his community .
the jolly green giant meets a fellow outsider , known only as the donkey ( his species ) who talks , and although he remains reluctant to warm up to him for a good portion of time , shrek eventually comes to a mutual understanding with him by acknowledging their common state as outcasts of the world .
the pair team up to retrieve princess fiona from a castle guarded by a dragon for the powerful lord farquaad , learning quite a bit about each other and themselves along the way .
their friendship exhibits the core theme of the need for someone to lean on , exemplifying to any child who may witness the film that acting as an honest companion can unquestionably affect someone .
shrek and donkey endure as supposed freaks of nature due only to their differences from others but cling to each other for support and guidance along their journey .
courage demonstrates itself within two major storylines : along the journey to rescue fiona , donkey 's immeasurable cowardice reveals itself . whether he encounters walking over a shaky bridge or living alone , donkey withholds fears that he continuously puts aside without self - acknowledgment .
but the yapping donkey must face his phobias when presented with the giant , fire - breathing dragon guarding fiona ; either he dies from terror or he triumphs with courage .
he wisely chooses courage by pretending as if no dangerous situation actually faces him , allowing the donkey to overcome a horror that likely only continued due to his insistence of them .
secondly , upon shrek 's and donkey 's redeeming of princess fiona , the ogre finds the princess has plans for whomever saves her : to satisfy her desire for a ( human ) knight in shining armor .
throughout this storyline , shrek faces his deep , perpetual misgivings of inhering as an ogre and struggles to determine how he will reveal his true identity to fiona .
an ongoing struggle occurs between himself and his reluctance of the truth , but eventually , shrek courageously conquers his fear by telling the forbidden secret to fiona .
children can realize from donkey and shrek that fear remains only as complicated as one makes it ; if one sets his / her mind to overcoming something in particular , endless possibilities exist .
after the friendships and courage prevail , the three central characters at the heart of shrek must take one more stretch of development : acceptance .
surprisingly , fiona holds a dark secret of her own : due to a spell cast upon her years ago , she transforms into an ogre by night .
in this storyline , fiona must learn to hold acceptance for herself , and she must realize what beauty truly means : to simply act as one 's self . upon fiona 's learning of shrek 's desire to pursue a relationship with her , fiona , knowing that acceptance of herself serves as the only platform for her love with shrek to work , gives in to her inner demons of self - ridicule and hatred .
any child can pull from fiona 's transformation the meaning of beauty and the meaning of self - acceptance .
on the technical side , shrek triumphs .
directors adam adamson and vicky jenson pace shrek in a consistent and satisfying manner , evenly distributing the lessons learned by the central characters .
these central characters spring to life
thanks to brilliant voice work from mike myers ( shrek ) , eddie murphy ( donkey ) , and cameron diaz ( princess fiona ) .
myers creates his shrek as a lovable and troubled ogre whose green color not only serves as a skin color but perhaps his envy of other , " normal " beings .
murphy succeeds with his donkey through recreating the high - strung persona that so many know the actor to have off screen .
cameron diaz exudes charisma and innocence as fiona , giving the princess / ogre a sense of power that many female characters in animated films lack .
while the direction and voice work certainly elevate shrek , the ultimate factor in the film succeeding lies in the screenplay , written by ted elliott , terry rossio , joe stillman , and roger s .
h .
schulman .
the script never underestimates the intelligence of the viewer , combining the three previously spoken of elements with humor for adults and children alike .
capping it off with a constant tongue - in - cheek feel that pokes fun at classic disney animated features , the fresh and entertaining screenplay delivers .
with shrek , dreamworks executive jeffrey katzenberg has certainly one - upped himself by creating an instant animated classic that will live on for ages to come .
the smaller children will laugh and cheer ; the adults will laugh even harder and leave understanding much that their children did not .
a film that breaks stereotypes and creates a definite standard of its own , shrek can certainly endure as one for the ages .
[EX A]:

assistant: P