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".

Input: Consider Input: Review: There are few uplifting things to say about this, but I can mention Matt Dillon doing his best to make something out of nothing and the many split screens and graphics that are worthwhile. As most race movies suffer from the premise that car lovers are not that intelligent, we end up with movies like this.Lindsay Lohan who surprised so much in Mean Girls has to make better decisions which roles to take. Here she can only fail.Children will only be mildly entertained because it tries to appeal more to adults than children (although still pretty dumb). The ones in the theater I saw it with showed no real interest after a couple of minutes. And as a family sports movie this is horrible. The better moments are in the beginning at the scrapyard creating some sentiment and later in the car-bash fest creating some tension. If you develop a car as a central character you have to develop it better than here. After a few obligatory race scenes you are in for the best part: being able to leave the multiplex in your own car. Question: is it a positive review?

Output: no

Input: Consider Input: Review: I like my Ronald Colman dashing and debonair, the fellow you see in such films as If I Were King and Kismet. I like him as the epitome of civilization as in The Lost Horrizon and Random Harvest. A brooding Colman isn't a favorite of mine.But in A Double Life precisely because his part as actor Anthony John is so offbeat for him, Colman was recognized with a Best Actor Oscar for 1947. It became his best known part.Colman is an actor who really does take the Method quite seriously. He's just finished a successful run in a comedy of manners and he's quite the jovial fellow. For a change of pace now that that play has concluded its Broadway run, Colman is bringing a revival of Othello to New York. About as opposite a part as you can get.His leading lady in both is his former wife Signe Hasso who loves him dearly, but can't take his change of moods when he's at work. Colman loves her dearly as well and wants her back. But he's heading for a mental breakdown when he starts confusing himself with the jealous Moor Othello and Hasso with her role as Desdemona.Unfortunately Shelley Winters as a poor waitress who a depressed Colman picks up gets in the way of his madness and she winds up like poor Desdemona in the play. Killed in the same manner and now it's a matter for homicide cop Joe Sawyer.Colman's performance is so good that one does kind of wonder is this an occupational hazard with actors? I'd shudder to think so, were there any unsolved homicides in or around Laurence Olivier and Orson Welles then they essayed Othello. I could never quite buy the story for that reason, but I certainly do applaud Ronald Colman and what he did with the part. I'm sure there was a tinge of regret in him winning the Oscar though because one of the other nominees was his good friend William Powell for Life With Father. Others in the running that year were Gregory Peck for Gentlemen's Agreement, John Garfield for Body and Soul, and Michael Redgrave for Mourning Becomes Electra.Colman gets able support from the rest of the cast including Edmond O'Brien who finds himself in the unwanted part of Cassio in Colman's jealous fantasy. Still you will find no Iago equivalent in A Double Life, no one prodding the jealousy, it's all in his own mind.And that from one of the most cultivated and civilized minds of the last century. Question: is it a positive review?

Output: yes

Input: Consider Input: Review: Carla works for a property developer's where she excels in being unattractive, unappreciated and desperate. She is also deaf.Her boss offers to hire in somebody to alleviate her heavy workload so she uses the opportunity to secure herself some male company. Help arrives in the form of Paul, a tattooed hoodlum fresh out of prison and clearly unsuited to the mannered routine of an office environment.An implicit sexual tension develops between the two of them and Carla is determined to keep him on despite his reluctance to embrace the working week. When Carla is edged out of an important contract she was negotiating by a slimy colleague she exploits Paul's criminality by having him steal the contract back. The colleague quickly realises that she's behind the robbery, but when he confronts her, Paul's readiness to punch people in the face comes in handy too - but this thuggery comes at a price. Paul is given a 'going over' by some mob acquaintances as a reminder about an unpaid debt. He formulates a plan which utilises Carla's unique lip reading abilities to rip-off a gang of violent bank robbers. It's now Carla's turn to enter a frightening new world.The fourth feature from director Jacques Audiard, 'READ MY LIPS' begins as a thoroughly engaging romantic drama between two marginalised losers only to shift gears halfway through into an edgy thriller where their symbiotic shortcomings turn them into winners. The leads are excellent; effortlessly convincing us that this odd couple could really connect. Carla's first meeting with Paul is an enjoyable farce in which she attempts to circumnavigate his surly reticence and jailbird manners only to discover that he was, until very recently, a jailbird. Emmanuelle Devos, who plays Carla, has that almost exclusive ability to go from dowdy to gorgeous and back again within a frame. Vincent Cassel plays Paul as a cornered dog who only really seems at home when he's receiving a beating or concocting the rip-off that is likely to get him killed.Like many French films, 'READ MY LIPS' appears, at first, to be about nothing in particular until you scratch beneath the surface and find that it's probably about everything. The only bum note is a subplot concerning the missing wife of Paul's parole officer; a device that seems contrived only to help steer the main thrust of the story into a neat little feelgood cul-de-sac.It was the French 'New Wave' of the 60's that first introduced the concept of 'genre' to film making and I've always felt that any medium is somewhat compromised when you have to use a system of labels to help define it; so it's always a pleasure to discover a film that seems to transcend genre, or better still, defy it. Question: is it a positive review?
Output: yes