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

[EX Q]: you know the plot : a dimwit with a shady past is seduced into committing a crime only to be double - crossed by a fatal femme .
in " palmetto , " the dimwit is harry barber ( woody harrelson ) , a reporter who 's just been released from prison ( he was framed by the gangsters and corrupt officials he was investigating ) .
enter la femme : rhea malroux ( elisabeth shue ) , the sexy young wife of the richest man in palmetto , florida ( rolf hoppe ) .
she and her stepdaughter odette ( chlo ? sevigny ) have a plot to extort 500k from the old man : harry will " kidnap " odette .
after groping both women , harry agrees .
as everyone except harry can see , he 's being set up as a fall guy .
sure enough , before long , harry has a dead body in his trunk and the cops on his tail .
his brother - in - law ( tom wright ) , an assistant da , has hired harry to be the press liaison for the case , so harry gets a front row seat for his own manhunt ( and we get to watch him sweat - literally ) .
there are several plot twists , of course - a couple of them even took me by surprise .
apparently every woman in palmetto is a raving horndog , and they 're on harry like he 's the only bone in the kennel .
shue vamps so broadly that i expected tex avery 's wolf to show up .
her incredible performance in " leaving las vegas " seems to have been a fluke .
here , she could easily be mistaken for melanie griffith .
shue 's character is supposed to be a savvy schemer
but she comes off as a brainless bimbo
.
in addition to shue and sevigny , the kennel includes gina gershon ( who filled the dimwit - with - a - shady - past role in " bound " ) as harry 's girlfriend nina ; when harry gets out of jail , she licks his face ( now there 's a horndog ) .
the parts are so overplayed that with a little push " palmetto " could have been an over - the - top parody of film noir
a la " romeo is bleeding .
"
as it is , it 's best watched at 2 am on showtime ( the love scenes seem to have been written for one of that channel 's soft porn programs anyway ) .
" palmetto " has a well - known director , volker schl ?
ndorff , who 's best known for his adaptations of major literary works , especially " the tin drum .
"
i suppose he must have been drawn to this plot - by - numbers script by the same admiration for classic film noir that led scorsese to remake " cape fear .
"
schl ?
ndorff tries hard - he makes an interesting motif out of the ubiquitous palmetto bugs - but
nothing can freshen up this stale script .
[EX A]: N

[EX Q]: "
i 've been told by several people , ' you 're old fashioned .
you want to do everything by hand , ' " topiary gardener george mendonca complains , defending his continued resort to hand shears in trimming his intricately privet - sculpted animal creations .
"
this is the only way you can do it and do it right . " snip , snip .
"
some people believe that we are gon na replace ourselves by building these machines , and that may be , " muses mit robot scientist rodney brooks , who builds robots that run on instinct .
"
there may not be a place for humans in the future , if we 're really successful . "
" you feel that there 's a and looking directly into errol morris 's camera .
"
i know you are .
you know i am .
" in some ways the slickest film yet from nonfiction auteur morris ( the thin blue line , a brief history of time ) , fast , cheap & out of control is reportage of the highest order .
journalism students should dream of making connections like these .
cross - cutting among interviews and filmed segments , morris traces the lives of four disparate professionals who seem to share nothing but an immersion in their work , and then threads them around one another in an intricate quadruple helix .
the fun is settling into your theater seat and wondering just what the hell one story can possibly have to do with the other .
what morris manages is something akin to an intellectual magic trick , an interrogative sleight of hand .
one of the things that feels different about an errol morris documentary -- besides the always - striking visuals -- is the interview style , where subjects seem to look directly at the viewer .
weary of pressing his cheek against the camera lens to get this effect during conversations , morris developed an elaborate double - camera gadget he calls , half - jokingly , the interrotron . through a rig that uses a pair of teleprompters to project video images of the interviewer for the subject and vice versa , these folks talk , startlingly , right to the camera -- to the video image of morris , and by extension to the audience .
the gardener wonders whether , after his death , anyone will be interested in maintaining the garden that he 's devoted half his life to tending .
the robot scientist is more than a little pleased to note that his creations may be primal examples of what an insect or even an animal is -- a complicated set of sensory receptors .
the mole rat specialist is delighted to catalog the ways in which these vermin animals behave like insects , and notes that they may be more suited to long - term survival than people .
and the circus trainer pines for a long - lost ideal that was exemplified by world - renowned trainer and showman clyde beatty , who starred in such serials as zombies of the stratosphere ( excerpted at some length here , with affection ) .
starting to detect the patterns ?
fast , cheap & out of control contains a multitude of parallels and tiny intersections , culminating in what feels like an elegy ( the film is dedicated to morris 's late mother and stepfather ) .
the film is balanced on that airy precipice dividing the already musty past from the alternately exhilarating and terrifying space that is the future .
( the title is taken from brooks ' wish that nasa would send a payload of hundreds of expendable robots to scurry about the martian surface , creating a sort of road map for the terrain -- fast , cheap , and out of control . ) with able assists from editors karen schmeer and shondra merrill and cinematographer robert richardson ( oliver stone 's longtime collaborator ) , this becomes a cinematic contraption that 's a wonder of narrative divergence and coherence .
( further enhancing the picture 's wacky intellectual mood is the playful score by alloy orchestra founder caleb sampson . )
different story threads inform and comment on one another with the serene inscrutability of a kieslowski film , or a surrealist dream .
by cobbling together out of these motley musings a thesis on the nature of craftsmanship , invention , and existence itself , morris reveals the presence of cosmic themes -- creation , evolution , death -- in earthbound lives .
at the same time , and just as significantly , he pays tribute to a consuming passion for one 's work .
this breakdown of the dichotomy between the everyday and the extraordinary is likely as profound as anything you 'll encounter in pop culture this year , and the visuals cry out for the big screen .
do n't miss it .
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directed by errol morris edited by karen schmeer and shondra merrill cinematography by robert richardson music by caleb sampson u
. s . , 1997 --------------------------------------------------------------
[EX A]: P

[EX Q]: as i write the review for the new hanks / ryan romantic comedy you 've got mail , i am acutely aware that i am typing it on a computer and sending it a billion miles away on the internet .
i am also aware that i have just spent the last 2 hours watching the world 's biggest paid commercial for america online .
and i wonder : is that so bad ?
well , the commercial part is .
as for the movie , well , as long as i can watch tom hanks and meg ryan , i think i 'll be okay .
to paraphrase james berardinelli , whose reviews i admire very much , tom hanks and meg ryan can act .
they are both wonderful , but for all of hanks ' glorious work in serious films , such as his magnificent performance in saving private ryan , and his glorious triumph in philadelphia , i like him best when he 's suitably obnoxious .
tom hanks is wonderful
when he is obnoxious in a romantic comedy when he 's going to get the girl : the only question is how ?
meg ryan , america 's high school sweetheart , can act .
she 's had a handful of memorable performances , including the great scene in the diner in when harry met sally ( i must not mention what she does , due to the , well , um , you get the idea , and if you do n't , get the movie-- fantastic ) .
but , i like her best when she 's , well , perky .
she is so adorably perky / cute that together with hanks , they are the most amazing onscreen duo in my short lifetime .
some people have them going back to really old classic romantic couples , but i do n't really know .
all i know is that i just like them both .
they have such wonderfully kinetic chemistry that 's really hard to resist , and i 'm not going to even try .
they 're just really , really cute , sweet , and charming .
hanks and ryan collaborate once again with nora ephron , who directed them in the megahit sleepless in seattle .
here , the setup is a little different .
kathleen kelly ( ryan ) owns a small children 's bookstore which her mother founded 42 years ago and passed down to her .
she is successful , beautiful , and dates a well - known columnist with very radical idea ( kinnear ) .
she is also having an affair , of sorts .
you see , kathleen , with the handle shopgirl , is secretly emailing ny152 .
they have a strictly un - detailed relationship : there are no specifics , and they have no idea who each other is .
ny152 happens to be joe fox ( hanks ) , a multimillionaire bookseller who is the heir to the fortune of the fox chain of mega - bookstores , run by his father ( coleman ) .
fox books has decided to open a store on the west side , right across from a little children 's bookseller named " shop around the corner " , run by a perky girl named kathleen kelly .
every morning , these two email each other silly , and every day , they fight " to the death ! ! " .
it 's a charming premise , and one that works nicely , balancing the immense troubles kathleen is in with the romance she wants to have .
it also has the great sense of being a classic romance : there is
no " let 's have sex tonight " mantra , if you 'll excuse my bluntness .
this is a solid romance built around that vague concept of love .
hmm .
well , the movie goes through twists and turns , having some sad moments and happy ones , until at one moment tom hanks and meg ryan " hook up " , to use modern terminology , and kiss their way into happiness .
you know it 's going to happen , the question is now ?
thankfully , ephron has a wonderful supporting cast with posey , kinnear , chappelle , and a host of others , including a great scene involving brothers , aunts , and two sweet kids .
it 's all cute and wonderful , and for all of the idealism , it makes me feel good .
hanks is as obnoxious as ever on the outside and as warm on the inside as he always is .
he is , i believe , america 's greatest actor .
does he show it here ?
nah .
but he 's still tom hanks , and she 's still meg ryan .
which is what this movie boils down to .
it 's pure confection .
all the bits about the godfather , the jokes , the superb script
, it 's all really sweet .
there are some immense flaws , like pacing .
the last third of the movie really does n't work as well as i would have liked , and for a romantic comedy , it 's slow .
once hanks knows the secret , it gets really slow .
i even looked at my watch a couple times , to make sure ephron was going to deliver the big onscreen kiss i was waiting for , so that i could get home at a reasonable hour .
the other problem is that this movie is shaping up to be really dated .
e - mail ?
when my kids are my age , i do n't know what we 'll be using .
but hanks can do more with one eyeroll than anybody , and meg ryan just loves to dive into a pillow better than anyone in movie history .
they just work together , and it 's nice to see .
it gives you , well , a smile .
the script helps with some great lines that are absolutely hilarious , and that always come at the exact right time to keep the audience awake .
i was arguing with my father on the drive back home on what the purpose of movies was .
i 've always believed that movies are very powerful , very powerful indeed .
you see , mankind has three abilities he needs to survive : the ability to think , entertain , and procreate .
movies can definitely do the first two , and as for the third , well , i 'd rather not think about that .
i always thought films that made you think enlightened you and made you see something from another viewpoint , and that films that entertained you were good , because you forgot about your troubles and thought about something nice for a night .
and i was thinking about how incredible a year tom hanks has had .
hanks was the driving force behind one of the year 's best films in saving private ryan , which is one of those thinking films that truly made someone wonder about the world .
he 's also half of the glue behind the year 's best example of pure entertainment .
tom hanks and meg ryan are magical , as is this movie .
it 's a sweet , lovely affair with a technology twist .
it may be a long commercial , but it gave me a pretty big smile on my face .
[EX A]:
P