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

Q: in the opening shot of midnight cowboy , we see a close - up of a blank movie screen at a drive - in .
we hear in the soundtrack human cries and the stomping of horses ' hooves .
without an image projected onto the screen , the audience unerringly identifies the familiar sound of cowboys chasing indians and can spontaneously fill in the blank screen with images of old westerns in our mind 's eye .
even without having seen a cowboys and indians movie , somehow the cliched images of them seem to have found their way into our mental schema .
but do cowboys really exist , or
are they merely hollywood images personified by john wayne and gary cooper ?
exploring this theme , director john schlesinger uses the idea of the cowboy as a metaphor for the american dream , an equally cliched yet ambiguous concept .
is the ease at which salvation and success can be attained in america a hallmark of its experience or an urban legend ?
midnight cowboy suggests that the american dream , like image of the cowboy , is merely a myth .
as joe buck migrates from place to place , he finds neither redemption nor reward in his attempt to create a life for himself , only further degeneration .
during the opening credits , joe walks past an abandoned theater whose decrepit marquee reads ' john wayne : the alamo . '
as joe is on the bus listening to a radio talk show , a lady on the air describes her ideal man as ' gary cooper ?
but he 's dead . '
a troubled expression comes across joe 's face , as he wonders where have all the cowboys gone .
having adopted the image of a cowboy since youth , joe now finds himself deserted by the persona he tried to embody .
joe 's persistence in playing the act of the cowboy serves as an analogue to his american dream .
he romanticizes about making it in the big city , but his dreams will desert him as he is forced to compromise his ideals for sustenance .
by the end of midnight cowboy , joe buck loses everything and gains nothing .
just as the audience can picture cowboys chasing indians on a blank screen , we can also conjure up scenes from pretty woman as paradigms of american redemption and success .
but how realistic are these ideals ?
joe had raped and been raped in texas .
the scars of his troubled past prompt him to migrate to new york , but he does not know that his aspirations to be a cowboy hero will fail him there just as they had in texas .
alongside the dream of success is the dream of salvation .
the ability to pack up one 's belongings and start anew seems to be an exclusive american convention .
schlesinger provides us with strong hints as to joe 's abusive and abused past with flashbacks of improper relationships with crazy anne and granny .
we understand that joe adopts the fa ?
ade of a cowboy , a symbol of virility and gallantry , as an attempt to neutralize his shame .
he runs from his past only to be sexually defiled this time by his homosexual experiences in new york .
in the scene at the diner which foreshadows joe 's encounter with the gay student , joe buck spills ketchup on himself .
standing up , we see the ketchup has made a red stain running from the crotch of his pants down his thigh .
schlesinger visually depicts the degeneration of joe 's virility by eliciting an image of bleeding genitals , signifying emasculation .
beyond the symbol of castration , the scene may also connote the bleeding of a virgin 's first sexual encounter , a reference to joe 's first homosexual liaison .
the fact that the idea of a bleeding virgin is relegated only to females furthers the imagery of joe 's emasculation .
it is ironic that joe has trouble prospecting for female clients , but effortlessly attracts men .
joe believes his broncobuster getup is emblematic of his masculinity ; new yorkers see his ensemble as camp and ' faggot stuff . '
there are two predominant images of new york .
the first is that new york is the rich , cosmopolitan city where hope and opportunity are symbolized by the tall skyscrapers and the statue of liberty .
the other new york is travis bickle 's new york , a seedy , corruptive hell on earth .
joe envisions new york as the former , but is presented with the latter .
mirroring the irony in which joe envisions his cowboy attire as masculine , he mistakenly buys into the fable that new york is filled with lonely women neglected by gay men .
joe thinks he is performing a great service for new york , but the city rapes him of his pride and possessions .
the people steal joe 's money , the landlord confiscates his luggage , and the homosexuals rob him of his dignity .
what has become of joe 's american dream ?
schlesinger responds to this question with the scene at the party .
joe gets invited to a shindig of sorts and at the gathering is exposed to a dizzying array of food , drugs , and sex .
at the party , all of joe and ratzo 's desires are made flesh ; joe flirts successfully with women and ratzo loads up on free salami .
contrasting joe 's daily struggles , shots of warhol 's crew display wanton indulgence .
there is an irreverence in the partygoers ' attitude ; we see a shot of a woman kowtowing to nothing in particular , orgies breaking out in the periphery , and drugs passed around like party favors .
the party makes a mockery of joe ' s ideals .
joe believed that hard work and persistence were the elements for success in america ; scenes of the party and his rendezvous with shirley suggest that it is the idle who profit from joe 's toils .
the american dream , schlesinger suggests , is merely a proletarian fantasy , for those who are content no longer dream , but become indolent .
as joe heads to miami , all that was significant of the cowboy image has left him .
his masculinity is compromised and his morality is relinquished .
for joe , nothing is left of the cowboy hero and commensurately , he surrenders the identity .
tossing his boots into the garbage , he returns to the bus for the last leg of his journey to miami .
the final shot of midnight cowboy shows joe inside the bus , more introspective , taking only a few glances outside the window .
instead of the frequent pov shots of joe excitedly looking out of the bus on his way to new york , schlesinger sets up this final shot from the exterior of the bus looking in through the window at joe .
reflections of the palm trees ratzo so raved about run across the bus ' window with joe hardly taking notice .
the scenery of miami no longer exacts the same excitement from joe as before .
the world seems smaller to joe now ; the termination of his journey coincides with the termination of his american dream .
no longer does joe aspire to be the enterprising gigolo ; he resolves to return to a normal job and resign to basic means .
midnight cowboy presents two familiar incarnations of the american dream .
there is the frontier fantasy that if you are brave enough to repel a few indians , you can set up a ranch out west and raise a beautiful family .
then there is the jay gatsby dream that a man of humble stock , with perseverance , can make a fortune in the big city .
joe 's attempt to realize these dreams robs him of his innocence in texas and morality in new york .
during his search for an intangible paradise , joe ends up raping a girl and killing a man .
an allegory of chasing the promise of the american dream , joe
buck 's progressive
moral atrophy is a warning against the pursuit of illusory icons .

A: P
****
Q: when walt disney pictures announced a live - action feature based on the ' 60s cartoon series of " mr . magoo , " special interests groups representing the vision - impaired let out a cry of dismay .
mr .
magoo , they claimed , would be an insult to the men and women they represented .
in fact , they were wrong .
mr .
magoo is not just an insult to the blind and near - blind ,
it 's an insult to every human being who has the misfortune to suffer through this dreadfully unfunny , 90 minute atrocity .
it 's stating the obvious to remark that disney appears to have run out of original ideas
.
look at their roster of 1996 and 1997 releases , and you 'll see a shocking list of retreads , including 101 dalmatians , george of the jungle , jungle2jungle , that darn cat ! , flubber , and now mr . magoo .
the best of these ( george of the jungle ) was mildly entertaining .
the worst , mr . magoo ,
exposes just how painful a bad movie experience can be .
the first problem with mr .
magoo is the script .
despite the collaboration of naked gun scribe pat proft , mr . magoo is comically barren .
from beginning to end , there 's not a laugh to be found .
every attempt at humor -- and there are lots of them -- falls flat with an audible thud .
you 'd think that out of the dozens of gags jammed into this film , at least a few would work , but that 's not the case .
i 've had more laughs during ingmar bergman pictures .
then there 's leslie nielsen , who looks , sounds , and acts absolutely nothing like the animated character ( memorably voiced by jim backus ) .
in the past , nielsen has proven his comic aptitude with roles in movies like airplane and the naked gun .
lately , however , he has been getting lazy , taking parts in the likes of dracula : dead and loving it , spy hard , and mr . magoo .
even if nielsen was in top form , it would take an incredible stretch of imagination to see him as magoo ( especially since we 're reminded of the original by the short cartoon segments that open and close the film ) , but " top form " is not a phrase i would use to describe his performance here .
this is strictly a take - the - money - and- run operation .
the story , which , like many disney stories , can be described in one long sentence : magoo is the only witness to the theft of a rare jewel from a museum , and , as he is trying to apprehend the thieves on his own , the police mistake him for the robber .
the cops are played by ernie hudson and stephen tobolowsky , who take their lumps early and often .
the bad guys are kelly lynch ( who does a lot of martial arts - type kicking ) , nick chinlund , and malcolm mcdowell ( who has the good sense to look embarrassed ) .
matt keeslar portrays one of magoo 's sidekicks -- his nephew , waldo .
the bumbling man 's other , more interesting companion is a dog named angus .
most of mr .
magoo 's humor comes in the form of failed slapstick .
the cartoon violence level in this film does n't approach that of home alone 3 or flubber , but it 's still pretty acute , with characters getting hit on the head with sledgehammers and knocked off snowy precipices .
there 's a non - violent bit with magoo preparing a chicken dinner that could have been funny if it was handled better , but , compared to mr .
bean 's recent , similar misadventure , it does n't hold up well .
then there is the series of lame jokes that result from magoo 's near blindness , such as the occasion when he mistakes a wild animal for a baby .
i 'm willing to cut director stanley tong a little slack .
tong , a hong kong film maker trying to break into the hollywood market , has helmed several jackie chan movies , including first strike , rumble in the bronx , and supercop .
his chief talent , that of choreographing martial arts fights , is wasted here ( despite some high kicking by kelly lynch ) .
like john woo ( hard target ) and ringo lam ( maximum risk ) before him , it appears that tong has been consigned to the purgatory of making a bad movie as his entry into the american mainstream .
it is worth noting that , unlike many disney films which hold a perverse appeal for the under-10 crowd while driving parents to distraction , mr . magoo appears to bore viewers of all ages .
the screening i attended was wall - to - wall kids , and , for the most part ,
they did n't seem to be enjoying themselves .
when the film was over , i asked one little girl what she thought of it .
her pained expression confirmed the adage that a picture can indeed be worth a thousand words .
mr .
magoo is the kind of movie that should be rejected by any potential viewer
, sight unseen .

A: N
****
Q: i can already feel the hate letters pouring in on this one , folks .
i loved the wedding singer .
but it gets worse .
if i so much as mention titanic in the same sentence .
. .
hell , same paragraph as the wedding singer
, i 'm bound to be lynched .
well lynch me then , because i thought adam sandler and drew barrymore had the most convincing chemistry in recent memory , with titanic as the only exception .
right away , you 're ready to discount my review , are n't you ?
you 're thinking that i ca n't possibly know what i 'm talking about .
after all , this is adam sandler right ? ? ?
well , there 's more .
. .
i actually got choked up , and more than once .
yes , the man who brought us billy madison and happy gilmore was able to bring sincere tears to my eyes .
but before you shrug me off as an imbecile , i urge you to see the movie and see for yourself .
the wedding singer is the story of robby hart ( sandler ) , a 1985 rock star wannabe whose soul achievement in life has been performing cover tunes at wedding receptions for the past five years or so .
but when his own wedding results in a no - show for the bride ( angela featherstone as linda ) , robby begins to re - examine his life , and wonder why true love does n't exist for people like him .
in the process of performing at these receptions , robby meets a waitress named julia , played with wholesome sweetness by drew barrymore , whose reputation is anything but this character .
julia too is engaged , and when robby finds himself without a wife , his free time allows him to help her plan her own wedding , seeing as how her fiance , the " miami vice " loving glenn ( matthew glave ) , does n't seem all that interested .
as the time goes by , we learn the reason glenn is do dispassionate about the wedding - he 's merely marrying julia to prevent a breakup , something he wants to avoid even if he does sleep around with tons of other women .
it 's obvious that robby is going to fall for julia and feel a strong need to rescue her , but what is a lighthearted romantic comedy for ?
this is n't sleepless in seattle , but i 'd actually compare it to that before i 'd compare it to happy gilmore .
while the wedding singer maintains some of that post - snl cornball humor ,
its sincerity and charm carry it a
very , very long way
.
sandler is great in his role , and yes , if you allow it , you can take him seriously .
barrymore seems perfect along side him , and although the two more likely represent gen - x moronism and party - girl ditzism ( respectively ) , the two go together like bread and butter as a mid - eighties couple .
one scene in particular , where julia ponders the future in a mirror , is so well done , i was on the verge of tears .
unfortunately , sandler is going to make a lot of people shrug this one off as a no - brainer , but it 's got so much surprise substance packed inside that
i 'm encouraging everyone to go see it
.
in fact , the entire theater applauded when the film ended , and laughs were so consistent , some jokes were probably missed due to the uproar .
the 1985 setting was milked for everything it was worth , and for those of us that are old enough to remember it , it was a bodacious trip back ( and done very well ) .
sandler shows a new side to himself while maintaining all his original charm
( or is it anti - charm ? ) .
while the wedding singer only deserves three stars due to artistic merit , grading it on pure enjoyability would give this one four stars .
it 's hilarious , and it 's touching .
it 's got that great cheezy humor , but it also takes sandler to a higher level than anyone expected .
this is one to see again and again
.
is it possible the wedding singer could be one of the sweetest romantic comedies of 1998 ?
my " magic
8-ball " predicts it is certain .

A:
P
****