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

Input: Consider Input: absolute power , the new film produced and directed by clint eastwood , attempts to be a thriller set in the world of hypocritical presidents and their murderous political staff .
it is about as thrilling as a lecture on the mating habits of the south american grasshopper .
one can only wonder how an utterly absurd script like the one written by william goldman could have ever interested eastwood .
not only is the plot unbelievable and contrived , but even the writing itself lacks any consistency or intelligence .
continually underestimating the audience , the film gives us information we already know or do nt even need .
details essential to the story are so improbably convenient they are annoying
( like why would two unprepared secret service men carry two night - vision goggles in their car ? ) .
oddly enough , the initial setup for absolute power offers interesting possibilities .
a masterful jewel - thief ( played by clint eastwood ) witnesses the murder of the wife of a powerful millionaire ( played by e. g. marshall ) .
while robbing one of marshalls mansions , he is forced to hide in the bedrooms vault .
there , through a two - way mirror , he sees the wife and another man engage in passionate foreplay .
their game of love quickly turns into a violent struggle as the man starts beating the woman . in self defense , the woman grabs a letter - opener and stabs the man in the elbow .
she raises her arm to stab again when she is fatally shot by two secret service men .
the man ?
he is the president of the united states of america .
where does the film go wrong ?
it can not be the acting .
clint eastwood , ed harris and gene hackman as the president give type - cast , but decent performances .
the cinematography is sufficient ; wild and erratic during action sequences , dark and mysterious during psychologically suspenseful scenes , and calm and warm during dramatic dialogue .
even the music is not as bombastic as it usually tends to be in the thriller / suspense genre .
the fault clearly lies in the screenplay , and the screenplay alone .
while setting up a story about misuse of power , about the true possessors of that power , and about intrigue and double - crossing , it does not resolve it .
not one buildup of suspense is resolved by an exciting climax . rather , the tense situations are left dangling at the end , giving the viewer an uneasy sense of incompleteness .
an example of this is a very promising and tense buildup of a scene : in an attempt to arrest clint eastwood , the police have set up a trap at a small restaurant .
police officers are everywhere , incognito of course .
at the same time , not one but two hit men are preparing to kill clint eastwood when he arrives .
all three parties are unaware of each others presence .
this scene is tremendously exciting and the audience is wondering how clint eastwood , who might suspect this is a trap , will get himself out of this difficult position .
he will probably have a brilliant plan , involving ingenious preparations .
however , when he arrives at the trap , both hit men miss ( how convenient )
and in the confusion eastwood simply walks away .
the buildup of this scene took about ten minutes .
ten minutes of close ups of the hit men loading their weapons intercut with the police preparing for the trap .
the scene was resolved in less than 20 seconds .
.. parallel to the story line of catching the real killer is a cliche emotional tale about the estranged relationship between father eastwood and his daughter .
the daughter blames her father for never being there for her , because he was either in jail or robbing a house somewhere .
of course their relationship takes a turn for the better during the adventure and they end up a happy family .
again , it is commendable that absolute power tries to deviate from the mainstream suspense film by giving room for a dramatic subplot . however , trying is simply not enough !
the second story line should be subtle , original and preferably unpredictable .
.. everything this film is not .
how could a screenplay like absolute power ever get the funding to be produced ?
how could eastwood , who has successfully produced and directed many outstanding films such as the brilliant unforgiven , ever believe in a project like this one ?
i am sad to say that my respect for the actor / director / producer has diminished substantially due to this film .
director quentin tarantino once said : " i can make a good movie out of any bad script .
" director clint eastwood obviously can not .

Output: N

Input: Consider Input: way of the gun is brimming with surprises , some good , most bad .
one of the good ones is ryan phillippe 's surprisingly halfway decent performance .
after the actor gained much attention by posing and preening through teen swill like i know what you did last summer , he hinted at a bit growth in last year 's cruel intentions with his amusingly contemptuous john malkovich meets james spader performance , though his acting in that film faltered around the third act mark , precisely when the screenplay made his character grow a heart ( presumably to appeal to his training bra wearing fans ) and start bellyaching about how he 'd fallen for his " target " .
it was a dramatic shift that neither phillippe nor the film 's director could negotiate .
but he seems to be trying and that should n't be overlooked ( or probably over praised ) seeing as how , at this point , he really is n't required to do much but look pretty .
here , phillippe has procured a five day growth of beard , his hair askew and his affect altered to sound something like james cagney in all his " look here , see " glory .
it 's tough to believe a pretty boy like phillippe as a hard ass , but his performance actually helps with the illusion .
unlike ben affleck 's puppy dog approach in reindeer games , phillippe is believable and not too bad at that .
as for the plot , well , that 's one of the bad surprises ; phillippe and the great benicio del torro play two moronic ( and not even remotely likeable ) criminals ( introduced to us in the parking lot of a rave where they stupidly pick a fight with about twenty people ) who hatch a scheme to kidnap a surrogate mother ( juliette lewis ) after overhearing that she 's carrying the baby of painter ( scott wilson ) , a very well connected wealthy man .
the kidnapping devolves into a laborious shoot out where much damage is done and many are killed .
but the anti - heroes escape with the woman while an aging hit man ( james caan ) and two scheming bodyguards ( taye diggs and nicky katt ) remain in pursuit .
directed by christopher mcquarrie , the screenwriter who won an oscar for his work on usual suspects , an overrated piece of crime noir in many circles ( this one included ) , way of the gun is a hodgepodge of crime thriller motifs that just oozes eye rolling familiarity .
unlike phillipe , mcquarrie does n't seem to be growing at all ; he fills his flick with a sprawling labyrinth of plot all snatched from movies
i know i 've seen before and worse , it feels like it .
the film lacks even a fresh approach ( like what soderbergh did out of sight or the limey ) to its clich ?
s , all of which are spewed before us in a picture that tries so desperately to be hip and gritty without bothering to notice how common it is
.
it features characters living by a code they seemed to have picked up in sam peckinpah 101 rather than any thing resembling life .
even attempts at emotional weight feel strained like in preposterous scene where enemies james caan and benicio del torro stop in their tracks to have a cup of coffee and pontificate on life , philosophy , etc .
i did n't like the bit much when it first appeared in heat ,
here , it 's even more self consciously " dramatic " .
usual suspects , which also featured a bunch of low lives that seemed to live by a code they learned from the movies , worked to some degree because of that astonishing twist ending .
nowadays an astonishing twist per ending is de rigeur , never mind if it deems all that transpired before it completely inconsequential .
thus , nearly every character in way comes with at least one dirty little secret ( most amateurishly projected before they appear ) and it too has an ironic little twist at the end ( nothing earth shattering , like in the usual suspects ) but i admit , i did n't see it coming , and i smiled .
however most of the movie feels exactly like the interrogation scenes between palminteri and spacey in usual suspects : a lot of faux huffing and puffing with no rhythm or reason .
or substance .
it 's just as overplotted as suspects , and often dull as any overplotted movie without interesting characters , a distinctive style , or a good script would be .
even the good stuff , most of which involves james caan ( doing a fine job ) , feels odd and out of place in a movie that thinks lines like " karma is only justice with out the satisfaction " are clever .
at one point caan laments " need is the ultimate monkey " a line so inexplicable he might as well have said " love is like hippo ass " .
i 've seen porno with better dialogue .
and some with better plot lines too .
but rarely has porn offered up such a talented cast ( i mean , can you even compare james caan to ron jeremy ) .
caan slips into this role with seeming ease , he could do this kind of soft - spoken tough guy in a coma , but he manages to give his character depth and weariness .
benicio del torro is always welcome , though here he plays it fairly straight ( rather than another oddball character creation like the ones the actor gave us in usual suspects and excess baggage ) , adopting a brad pitt - esque quizzical pout to go along with his heavy swaggering .
speaking of pitt , his ex , juliette lewis , is a weak link , either shouting her lines with ear shattering shrillness , or waddling about like a silly goose .
nicky katt was brilliant in a brief role in the limey , here his role is just as brief only
he seems wasted ; he 's only kept around for his cold presence .
taye diggs has a similar function , cool as ever , but never a character , though the guy has one helluva death scene .
for the most part way is incessantly talky with no reason to give a hippo 's ass about any thing that transpires since its characters are never more than simplistic pawns .
it 's vaguely tarantino - ish , but in a bad truth and consequences nm way , with phillippe , in one scene , leaping into a stupid rant about " faggots " migrating to los angeles .
you know the routine .
the final shoot out is pure bargain basement john woo ( who himself seems to be doing bargain basement john woo ) with interchangeable bad guys lining up to be shot at .
but those gun shots sure crack like thunder .
just the other day i was watching an old dirty harry movie on cable and was stunned to hear the weak elephant grunt - like sound that emanated from harry 's fetishized smith and wesson .
oh how far we 've come .

Output: N

Input: Consider Input: "
the celebration " is one of an elite kind of films that is completely absorbant .
you know , where you sit down to watch it , and no matter what you 've heard about it before ,
you just ca n't help but be totally drawn into its story and shocked by every single turn that occurs .
i prefer films like these because these are what the best kind of films are like .
i do n't really feel there are to be any real " rules " for cinema ; a film can do anything , as long as it makes it work .
but i do ask that all films have one thing in common : they create experiences .
when i watch a film , no matter what kind of film it is , i want to be able to take certain memories along with me .
"
the celebration " is great because it 's chock full of those .
it creates a world
so completely realistic that everything that occurs is as memorable as the little instances of life that catch your attention and stay with you for the rest of your life .
and then it makes things just a tad bit farscial , just to make sure you 're paying attention , which you are because what transpires is just
so goddam interesting that if you were to ever feel bored , then you 're of your attention span needs a bit of a tuning - up .
the story takes place at the extravagant home of an aging patriarch ( henning mortizen ) , who has just turned 60 and is having a party thrown for him .
all his friends and family turn up , and for the first half hour , we get introduced to everyone , simplistically and realistically ( no aggravatingly condescending posing for the camera deals here ) .
the eldest son , christian ( ulrich thomsen , looking a bit like a young malcolm mcdowell ) , is the first to be seen in the film , walking to his father 's home .
his brother , michael ( thomas bo larsen ) , drives by , pulls over , greets him , then kicks his family out of the car , forcing them to walk to the estate , just so christian can be comfortable .
we then meet helene ( paprika steen ) , their sister , a woman who always seems to be stressed - out , who invites the driver of her car ( gbatokai dakinah ) , an american , to to come join her at the party she 's going to .
once they 're all there and settled in , the party begins , and as custom , the eldest son has to make a speech to his dad , so christian stands up , at the head of the table , and reveals the film 's punchline : his father raped all his children at a young age .
but since this is a family / friends affair , his confession becomes more detested than the supposed truth , and is simply brushed off despite his efforts , and what transpires is sorta like jerry springer crossed with jean renoir , and
it 's all terribly interesting to watch .
twists occur , and soon the film has taken on a nearly - farsical nature , but still seems realistic because the people involved really feel like they could reach such ends .
the most notorious thing about this film , which has been getting the most notice , though , is that the director , thomas vinterberg has shot it in a completely awkward fashion .
as a member of the danish filmmakers clan , dogme 95 , a group that has vowed to oppose " the auteur concept , make - up , illusions , and dramaturgical predictability " so that they may " purge film so that once again the inner lives of the characters justify the plot .
"
i have not seen " breaking the waves , " the other notable film by a member of this group ( lars von trier , to be exact ) , but " the celebration " works exquisitely in this department .
it feels like reality , like you 're actually watching real people and not actors , and as a major pointer , has been shot on video .
as a result , it looks more like the home movies you never dare shot of your family than an actual film , but always wanted to .
we see key moments in people 's lives that they would n't dare show to the world , and it captures the farscial comedy of life so accurately and acutely that this style , as ironically - showmanship as it really is , works perfectly for the nature of the film .
the key , though , to this film , and the reason it 's not just a cool danish import , is because this film is not about revealing the truth as much as it is about the way people react to such an explosive truth .
throughout the film , we see a completely realized debate over the truth and the effects it has on the lives of those who have learned to live with lies , a debate so three - dimensional that it could easily blow oliver stone and his the - truth - at - all - costs reasoning out of the water
.
of course it was not right for the father to rape his children , and of course , they could n't have fought back then , and of course this has created scarring suppression inside them .
and yes , it 's thearapeutic for one to release the truth years later , when they know it could easily destroy the one who emotionally destroyed them earlier .
but then again , the father , after all , is not a totally bad guy , and we can see the emotional complications that arise thanks to a performance by mortizen which is just so great and touching that while we do believe that he could have raped his children years earlier
, we also see a man who has also learned to live with what he 's done , and deep down , feels true guilt that is only now beginning to surface .
the final scene , involving mortizen and everyone else , is utterly devastating , thanks to him and thomsen , whose performance is utterly flawless and equally emotionally complex .
everyone else is flawless as well - the actors never seem to be stepping into the shoes of their characters as much as they do walking comfortably in them .
the actors or writers have not made the mistake to judge these characters in the slightest : there are no whites or blacks but instead all grays , exactly like life .
as such , " the celebration " may be the one truly bizarro film of the year : a work of art so eerily close to reality that it 's utterly disturbing and utterly fascinating .
Output: P