input question: Select the correct sentiment of the following review: This is definitely an appropriate update for the original, except that "party on the left is now party on the right." Like the original, this movie rails against a federal government which oversteps its bounds with regards to personal liberty. It is a warning of how tenuous our political liberties are in an era of an over-zealous, and over-powerful federal government. Kowalski serves as a metaphor for Waco and Ruby Ridge, where the US government, with the cooperation of the mainstream media, threw around words like "white supremacist" and "right wing extremists as well as trumped-up drug charges to abridge the most fundamental of its' citizens rights, with the willing acquiescence of the general populace. That message is so non-PC, I am stunned that this film could be made - at least not without bringing the Federal government via the IRS down on the makers like they did to Juanita Broderick, Katherine Prudhomme, the Western Journalism Center, and countless others who dared to speak out. "Live Free or Die" is the motto on Jason Priestly's hat as he brilliantly portrays "the voice," and that sums up the dangerous (to some) message of this film.

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output answer: positive

input question: Select the correct sentiment of the following review: Insisting that Martin Luther King's inspirational spirit resides not just in American civil liberties but inside the hearts and minds of people everywhere, Danish helmer Niels Arden Oplev transplants this belief to a 1969 Danish middle school. More specifically, it works its way into the crusade of a young boy named Frits (Janus Dissing Rathke) against his oppressively rigid and churlishly abusive headmaster Svendsen (Bent Mejding). Adapted from a true story, the performances are executed with certain aplomb and a refreshing command over its varied characters keeps it involving. A battle of ideologies between a 13 year-old and a demented disciplinarian gives way to inherent humour but awkward shifts in mood disorients despite keeping it shrewdly cynical in the same vein as a "Dead Poets Society" more than a "Matilda". It treads a familiar path but a continued and precise service to its young protagonist including a personal subplot that rounds off Frits as a young boy becoming a young man, manages to raise the film into a rousing family film with its nose right on the money.
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output answer: positive

input question: Select the correct sentiment of the following review: The exclamation point in the title is appropriate, albeit an understatement. This movie doesn't just cry -- it shrieks loud enough to shatter glass.

Filmmakers Andrew and Virginia Stone made shrill, humorless suspense thrillers that strove for a semi-documentary feel. Here, they shot on actual New York locations with tinny "real-life" acoustics to jack up the verisimilitude. But the naturalism of the sound recording only serves to amplify the Stones' maladroit dialog and the mouth-frothing histrionics of tortured butterfly Inger Stevens.

In a performance completely devoid of modulation, Stevens plays the wife of electronics whiz James Mason (looking haggard and bored); both are held captive by extortionist Rod Steiger (looking bloated and bored) and his slimy cohorts in a scheme to blackmail an airline with a deadly bomb that Mason has unwittingly helped construct.

Here is another credibility-straining instance of a criminal mastermind so brilliantly attentive to every detail, yet knuckleheaded enough to hire a drug-addicted degenerate as an underling. The Stones' idea of nail-biting tension is to trap the hysterical Stevens alone with Benzedrine-popping rapist Neville Brand, filling the frame with his sweaty, drooling kisser. But the camera work is so leaden and Brand so (uncharacteristically) demure that the effect is hardly lurid, much less suspenseful. The Stones, a square pair at heart, don't even have the courage of their own lack of convictions.

The film, which ends with the portly Steiger chasing the fleet-footed Stevens on a subway train track, is as clumsy as its ungainly heavy. With Angie Dickinson as Steiger's amoral girlfriend, Jack Klugman, Kenneth Tobey, and Barney Philips.
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output answer:
negative