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

[Q]: would you believe -- in real life , i mean -- that if you were julia roberts , that you 'd be the ugly underdog to your sister , the creepy catherine zeta - jones ?
let me tell you what reality is .
reality is that you are megastar julia fricking roberts and your brother is eric roberts , and he picks up whatever crumbs of stardom fall off your coattails as you blaze across the sky in a golden chariot .
that 's reality .
america 's sweethearts is the opposite of reality , a train wreck that tries to sell julia as a scruffy also - ran , presumably because she wears horn - rimmed glasses and used to be overweight ( uh - huh ) .
the plot follows two married , mega - movie stars , gwen and eddie ( zeta - jones and poor , poor john cusack , whose material gets worse every year ) , on the eve of their new star vehicle 's release , a film called time over time .
the only problem : gwen and eddie have gone through a nasty separation , and the press and public have not been forgiving ( think meg and dennis ) .
gosh , and the director has vanished with the film , holding the only print hostage .
veteran pr agent lee ( billy crystal ) is called upon to clean up the mess , throwing a press junket in the nevada desert to woo them with the story of a possible reconciliation between the gwen and eddie , presumably distracting the stupid , stupid film critics into forgetting they have n't seen the movie at all .
( note to sony : any studio executive that thinks this plot is going to win points with the reviewing press needs to check into rehab . )
and did i mention gwen 's sister kiki ( roberts ) is along for the ride ?
and that she and eddie just might fall in love along the way ?
oh billy , you 're a scamp !
the script you 've co - written with peter tolan ( what planet are you from ? and bedazzled -- need i say more ?
) is a roast of hollywood and celebrity , sure , but
it 's not a funny one .
yes , crystal tells us , hollywood is lying to our faces ! if you are surprised by this , you might want to check on your subscription to people magazine .
it 's about to expire .
aside from a scant few zingers (
yeah , se ?
or winces rules ! )
, america 's sweethearts ' jokes are n't funny , its pace is choppy , and the whole affair comes off as a vanity project -- not for headlining star julia roberts -- but for billy crystal to deliver a bunch of lame punch lines that he wrote himself .
i did n't time it ( the movie 's not that bad ) , but it 's crystal who really has the most screen time and is the unequivocal focus of the film .
bad move , billy -- your jokes suck .
the crotch humor is outpaced only by the meanness of the movie 's gags -- and with unsubtle sexual innuendo dripping from every scene , how this movie earned a pg-13 rating is a mystery to me .
julia overcame a lot of spiteful writing and acting to make my best friend 's wedding into a winning film , but not even that 90-tooth smile can save her here .
obviously aware of the ugliness
before him , director joe roth turns to goofy supporting characters like hank azaria ( as a lisping spaniard ) , christopher walken ( the insane time over time director ) , and alan arkin ( a new age guru in a fright wig ) to crack wise .
none of the stereotypes is successful except for walken ; azaria comes off as a preening queen when he 's supposed to be macho .
as for roth , in case you do n't know , went from direcing revenge of the nerds ii to launching his own movie studio , revolution , which produced this work .
he 's back behind the camera for the first time in 11 years .
it 'll probably be another 11 before he 's back again .
i could drone on about how america 's sweethearts will only appeal to the mouth - breathing morons who talk on their cell phones during the movies , but that would get old .
instead , i 'll settle for discussing the movie 's worst sin : that sweethearts is painfully contrived and wholly unbelievable , not just in its plot but in its sentiment .
every single character in this film ( with the arguable exception of kiki ) is simply hateful , and putting them in a romantic comedy is a waste of a bunch of villains .
when you leave the theater , you 'll ask yourself , too : why would i want any of these jerks to be happy ?
[A]: N

[Q]: some of my friends who went to live in usa complain about one thing - that country is very different from the one depicted in hollywood movies .
that is especially true for those who end up somewhere in that unexplored land between los angeles and new york where they find , to their big surprise , that the majority of people vote republican , go to church every sunday and usually do n't tolerate liberal attitudes that are taken for granted in an average american film .
such rude awakening , however , can happen in another direction - conservative people are sometimes forced to discover unpleasant truths about world they live in .
something like that happens to jake van dorn ( george c . scott ) , successful grand rapids businessman who shares strong calvinist convictions with the rest of his community .
one day his daughter kristen ( ilah davis )
disappears from calvinist youth convention in california .
van dorn is worried because he does n't believe that his daughter would run from home .
however , the truth delivered by private investigator andy mast ( peter boyle ) is
even harder - kristen is spotted in cheap pornographic film .
infuriated van dorn is unsatisfied with the way mast 's investigation is going , so he goes to los angeles to search for kristen himself .
unfortunately , he lacks experience and the quest , that brought him to the utter depths of sex underworld , is fruitless .
things change when he devises cunning plan and , while doing it , stumbles on sympathetic prostitute and part time porno actress nicky ( season hubley ) .
almost two decades after its release , hardcore is mostly forgotten by critics and film scholars .
it is a real shame , because very few movies in today 's hollywood would dare tackle controversial issues that writer and director paul schrader explored in his second directorial attempt .
in late 1970s , it was totally different situation - films were expected to have mature , serious themes for the mature audience .
for schrader this film was nice opportunity to expand the subplot of his previous work , taxi driver - one that deals with the great generational divide that tormented the american society in 1970s .
on one side we have an old america that sticks to the puritan ideals of hard work and strict morals that made that country great .
but that america is obviously unable to cope with the new challenges brought by the social turmoil in 1960s and , instead of facing them , prefers to live in rural , conservative cocoons .
the new america , on the other hand , fares no better - ideals of the so - called " sexual revolution " , same as all other " revolutions " of the swinging sixties , degraded into exploitation and depravity .
instead of being " liberated " , baby boomers are stuck with their own inability to cope with the newly discovered freedoms .
schrader very cleverly brings the idea that those two americas , actually , are n't so far away - nice example is a brilliant scene in which van dorn , already described as an authoritarian and paternalistic capitalist , meets sleazy porno producer ; the latter one also turns out to be authoritarian , paternalistic and very dedicated to this job .
the difference between the two is simply in the line of work .
many contemporary critics actually accused schrader of promoting conservative agenda .
on the surface , it may look that way - audience is forced to sympathise with van dorn and his quest .
in the first scenes , he is portrayed as nice family man who actually does n't deserve to experience parent 's worst nightmare .
the scene in the porno cinema that reveals kristen 's fate is extremely cruel ; pain and humiliation , brought by oscar - winning actor george c . scott , is of such intensity , that the audience feels sorry for him and simply must support his agenda .
van dorn is perhaps flawed , and the subtle hints lead to the unflattering truth at the end ; but the viewers simply know that his cause is just , and that prodigal daughter must be better off with her loving father than with the sleazy pornographers that only want to exploit her body .
on the other hand , schrader , who grew up in an environment very much like van dorn 's ( his own parents would n't allow him to watch movies until he was 18 ) , knows better and tries to bring another side of coin .
even the people connected with sex underworld can show redeeming qualities - like nicky , who actually tries to improve her life , and sleazy detective who develops something like a conscience at the end .
unfortunately , schrader fails to erase the impact of the shocking scene at the beginning , and his attempt to reconcile the opposing sides of america seems lost in somewhat clich ?
d finale .
the script is slightly flawed , and schrader as director does n't show too much originality - his style seems too influenced by techniques that scorsese used in taxi driver .
apart from the scenes in grand rapids , those two films even look alike .
but the content might be more than interesting for today 's viewer , especially those inspired by the current 70s revival . until boogie nights , no hollywood mainstream movie ever dared to explore the phenomenon of pornography in 1970s .
hardcore , on the other hand , might serve as precious document , because it depicts sex film industry in the period often regarded as the golden age by connoisseurs - before the advent of video , when many of the porno filmmakers could afford to think of themselves as artists .
the view of such age and the industry is very unflattering , though , but for the film whose main character takes time to explain calvinist doctrines to the audience , that should n't be too surprising .
anyway , despite some flaws , hardcore remains very interesting and powerful piece of cinema .
[A]: P

[Q]: after enduring mariah carey 's film debut , glitter , i 'm reminded of a bit from chris rock 's bigger and blacker .
in response to women saying that they can raise a child without a man , rock says , " you can drive a car with your feet , but that do n't mean it should be done .
" to that i say , you can give mariah carey a movie , but that certainly do n't mean it should be done .
sure , there are plenty of pop star film vehicles out there -- from the beatles ' a hard day 's night to the spice girls ' spice world -- but none have been so vapidly pointless or laughable as glitter .
everything about this complete tripe is ludicrous .
start off with the story , which -- as gruesomely predictable as it is -- is the least offensive part of the movie .
the film is inexplicably set in the 80s ,
a period piece that really shows no sign of its period except for a few chicks in leg warmers .
worse yet
, everyone 's speaking late 90s hip - hop slang in what should be 1983 .
meant to be partially autobiographical , carey plays billie frank , a young singer in new york who struggles to overcome a rough childhood and abandonment by her alcoholic mother .
influential club dj julian dice , a .
k . a .
" lucky 7
" ( max beesley playing a bad mix of puff daddy and robert de niro ) , hears her sing on a track , and decides to make her a star .
in predictably rapid succession , billie and dice fall for each other , she starts hitting it big , dice gets jealous and starts acting like an ass , and suddenly billie 's on " the roller coaster of superstardom .
" in the meantime , billie is on an emotional hunt for her missing mom .
i wo n't give away the ending , but -- honestly -- just think of unicorns and rainbows .
. .
you 'll figure it out .
the movie screams to be made with camp , and that could 've been fun .
but the filmmakers thought making the bulk of glitter weepy and dramatic would be better .
what a mistake .
the brief attempts at comic relief -- as in a scene where an effeminate russian - sounding director gets wacky with filming billie 's first music video -- go over like lead balloons .
instead , the audience at my screening tended to laugh loudest during mariah 's most dramatic scenes .
which brings us to the performances , of which there 's nothing good that can be said
.
mariah is primarily seen with a wide - eyed deer - in - the - headlights look frozen on her face .
she actually looks scared during her one love scene .
but you have to wonder if the writing is n't even worse .
so much of the dialogue is so hackneyed and watered down for carey 's virginal target audience that it 's probably impossible for any actor to pull it off with aplomb .
even the characters could n't have been written more absurdly .
they 're all members of a barbie playset : the important film director who swoons , " billie , i 'd love to put you in a movie i 'm making , " and the big - time record executive who takes billie 's demo tape and says , " oh , i 'll make sure the whole team listens to it in the morning .
" everyone in the film is a device , and it 's painful to keep watching just to see another one appear .
to say more would be a waste .
there 's so much wrong with this film .
and , it pains me that mariah carey -- with her ego and sanity in such fragile condition these days , as evidenced by her multiple hospital stays -- will have to suffer through all the negative reviews she 's likely to get .
but , then again , i had to suffer through her movie .
[A]:
N