In this task, you are given a review of a movie and a boolean question whether this review has positive sentiment or negative sentiment. Your task is to generate answer "yes" when the tweet has that particular sentiment, otherwise generate answer "no".

[EX Q]: Review: I suppose I always felt that Hotel du Nord was studio-bound, the movement of people cars and camera were just too effortlessly smooth and stagey to have been filmed on location. But no problem - it's still a much underrated lovely composition from Marcel Carne. The plot seems a bit choppy at times, as if they were making it up as they went along, but because it is unpredictable holds the attention to the bitter end. The money shots when the 2 lovers are alone in their room are saddled with some rather stilted dialogue, but it's all so lovely to fall into any inanity can be accepted. Are these 2 young people symbols of a cancerous hopelessness in pre-War France or simply idiots? Suicide pacts are fairly common; if the suicidees are young and healthy with their lives before them untrammelled would you think anything other than that they were just misguided fools?Arletty played the part of prostitute well - she kept that zipper on her dress busy throughout anyway! I've only seen a few films with Jouvet - he is the most impressive invention as pimp in HDN - my trouble is shallow: every time I see his face I think of Sonnie Hale in Evergreen!A remarkably atmospheric, well acted and photographed film with so much happening it needs a few viewings to get it all in place. Annabella and Aumont made an exceptionally beautiful couple; Francois (Heurtebise) Perier in his 2nd film had a small amusing part as a gay man. All in all: wonderful. Question: is it a negative review?
[EX A]: no

[EX Q]: Review: At first glance, it would seem natural to compare Where the Sidewalk Ends with Laura. Both have noirish qualities, both were directed by Otto Preminger, and both star Dana Andrews and Gene Tierney. But that's where most of the comparisons end. Laura dealt with posh, sophisticated people with means who just happen to find themselves mixed-up in a murder. Where the Sidewalk Ends is set in a completely different strata. These are people with barely two nickels to rub together who are more accustomed to seeing the underbelly of society than going to fancy dress parties. Where the Sidewalk ends is a gritty film filled with desperate people who solve their problems with their fists or some other weapon. Small-time hoods are a dime-a-dozen and cops routinely beat confessions out of the crooks. Getting caught-up in a murder investigation seems as natural as breathing.While I haven't seen his entire body of work, based on what I have seen, Dana Andrews gives one of his best performances as the beat-down cop, Det. Sgt. Mark Dixon. He's the kind of cop who is used to roughing up the local hoods if it gets him information or a confession. One night, he goes too far and accidentally kills a man. He does his best to cover it up. But things get complicated when he falls for the dead man's wife, Morgan Taylor (Tierney), whose father becomes suspect number one in the murder case. As Morgan's father means the world to her, Dixon's got to do what he can to clear the old man without implicating himself.Technically, Where the Sidewalk Ends is outstanding. Besides the terrific performance from Andrews, the movie features the always delightful Tierney. She has a quality that can make even the bleakest of moments seem brighter. The rest of the cast is just as solid with Tom Tully as the wrongly accused father being a real standout. Beyond the acting, the direction, sets, lighting, and cinematography are all top-notch. Overall, it's an amazingly well made film.If I have one complaint (and admittedly it's a very, very minor quibble) it's that Tierney is almost too perfect for the role and her surroundings. It's a little difficult to believe that a woman like that could find herself mixed-up with some of these unsavory characters. It's not really her fault, it's just the way Tierney comes across. She seems a little too beautiful, polished, and delicate for the part. But, her gentle, kind, trusting nature add a sense of needed realism to her portrayal. Question: is it a negative review?
[EX A]: no

[EX Q]: Review: One of the most common entries in the 'goofs' category is anachronism. Though I'm beginning to believe that anachronism and other goofs are more acceptable, even ignored, in very good films, but are found front and center in rotten films. KISS THEM FOR ME is a rotten film and reeks of anachronism, yet when watching it closely, I found almost nothing specifically anachronistic.The shots of aircraft which bookend the film are certainly out of place. The big 4 engine transport seen after the title "Honolulu 1944" appears to be the post war C-97 Stratofreighter (in MATS colors). The combat planes seen taking off from the carrier at the end are Douglas Skyraiders which entered service after WW2 and were made famous by their service in Vietnam.But excepting these two pieces of film and, of course, the hairstyles, everything else is very possibly period authentic. It just 'feels' so wrong. I'm an admirer of Stanley Donen, we share the same birthday. In his co directed ON THE TOWN (1949) there is a car chase at the end with the police driving 1949/50 Ford's yet there isn't the slightest feeling that this is out of place in a WW2 period film. In fact, as I reflected later, there isn't anything which says that this is supposed to be a WW2 period film. It just feels that way. Based on a wartime Broadway musical which was based on a ballet (Fancy Free) which may have been based on the work of artist Paul Cadmus (The Fleet's In! 1934) its a great film about sailors on a 24 hour pass in New York and, so heavy with wartime associations, its merely assumed it takes place during the war and yet these contemporary cars do nothing to break the spell.The first problem is old Cary Grant. Though far too old to represent a Navy SBD dive bomber pilot, it is a Hollywood tradition for stars like Grant, Gary Cooper (Lou Gehrig), Jimmy Stewart (Charles Lindbergh) to play younger. It was the role which he is miscast in, not his age. He plays an operator, as they used to call them. A guy who gets things done and breaks all the rules while doing it yet remains admired and loved for it. A hustler. A wheeler dealer. A de rigueur character in a service comedy. Grant is the comic center of what is after all supposed to be a service comedy which is contra to his comedy style.Thinking back on the great Grant comic performances like BRINGING UP BABY (1938) or ARSENIC AND OLD LACE (1944) and he is the great reactor whose comedy is to be reduced by his context from dignity to a befuddled puddle of inert jelly. IN KISS THEM he is expected to be the comic spark plug which just isn't him. People had already been exposed to the type, most recently to comic Phil Silvers as Sgt. Bilko on television. The role would be perfected later by James Garner but here Grant just isn't funny and appears to be a bully getting his way by aggressively pushing his Cary Grantness rather than cajoling and finessing.But the thing which really stinks the place up with anachronism is the lead women. There can be no more echt 50s women than Suzy Parker and Jayne Mansfield. They are unique to the decade. Marilyn Monroe can be placed in a continuum with Carole Lombard and Marie Wilson and any number of dumb blonds, and Grace Kelly was another high class dame (think of Mary Astor), but there never could have been an anatomically exaggerated woman in films like Mansfield. Sure there were the 'sweater girls' (e.g. Lana Turner) of WW2, but Mansfield was stretching the point. Suzy Parker was THE model who revolutionized the model business, who changed the mannequin like poses to become the first natural girl who moved and whose personality was captured by the camera (see FUNNY FACE (1957) also by Stanley Donen).Of course in high 50s style, there seems to be a lot of gender mixing at 'wild' parties but never even a hint of sex (think of the 50s TV shows Bachelor Father or The Bob Cummings Show where dinner jacketed men returned from 'dates' alone). The original book, which I haven't read, was published during the war and appeared as a play on Broadway at the end of the war and the nuances of the situation must have been inescapable for contemporary readers and audiences, but broken down, bowdlerized and reconstituted a dozen years later and fatally miscast, it remains a once forgotten stain on otherwise exemplary careers until the invention of the VCR and cable television resurrected this petrified turkey.So the lesson here is whatever the 'goof' it will be ignored in a great film like CITIZEN KANE (who actually hears Charles Foster Kane say 'Rosebud'?), and tolerated in fun dreck like WESTWORLD ( why were the robots given live ammunition in the first place?) but absolutely despised in a rotten film, even if the goofs are really non existent. Question: is it a negative review?
[EX A]:
yes