input question: Select the correct sentiment of the following review: Director / writer Michael Winner's feature is a better than expected offbeat supernatural horror film (although still schlock efficiently catered for), which really does by go unnoticed. Sure it might borrow ideas from other similar themed horror movies of this period, but still manages to bring its own psychological imprint to the smokescreen material (of good vs. evil) and a unique vision that has a fair share of impressively expansive, if somewhat exploitative set-pieces. As a whole it's sketchy, however remains intriguing by instilling an ominous charge without going gang-busters with the scares. Actually there's always something going on amongst its busy framework, but it's rather down-played with its shocks steering to soapy patterns and atmospheric tailoring, up until its vividly repellent and grisly climax with a downbeat revelation. Winner's dressed up craftsmanship might feel pedestrian, however it's the ensemble cast that really holds it together as you try to spot the faces. There's plenty too. Some having more to do with the scheme of things than others, but there's no doubts every one of them are committed, despite the ludicrously crude nature of it all. It's interesting to see names like Sylvia Miles (who's significantly creepy!), Beverly D'Angelo (likewise), Deborah Raffin, Eli Wallach, Christopher Walken, William Hickey (a neat cameo), Jeff Goldblum, Jerry Orbach and Tom Berenger in bit parts. Then you got a mild-mannered Chris Sarandon and movingly gorgeous Cristina Raines in the leads. Offering able support Jose Ferrer, Martin Balsam, Ava Gardner, John Carradine, Burgess Meredith and Arthur Kennedy. The script does throw around many characters, as well as notions but gets disjointedly sidetrack by trying to squeeze all of it in. However it's disorienting air works in its favour in establishing the suspicion and deception of what's really going on here. Is there a reason for all of this, and why is it surrounding Raines' character? The emphasis is mainly built upon that moody angle, as it begins to slowly shed light of her inner goings and that of the strange/worrying experiences she encounters when she's moves into her new apartment. This is where Winner tries to pull out the eerie shades, which projects some icy moments. Gil Melle was the man responsible for the grand, overpowering orchestral score that never misses a cue and Richard C. Kratina instruments the sweeping, scope-like photography.
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output answer: positive

input question: Select the correct sentiment of the following review: Early, heavy, war-time propaganda short urging people to be careful with their spending practices, in effort to prevent any runaway inflation.

Using scare, guilt and patriotic jingoistic rhetoric, which was normal for the time, the government was concern that the sudden war-time production and therefore wage increase and subsequent spending practices if not checked could cause serious problems during and after the war.

It truly is a window into the past, historically and culturally.
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output answer: negative

input question: Select the correct sentiment of the following review: (This is a review of the later English release by Disney, featuring Alison Lohman, Patrick Stewart, and co.)

I really wanted this film to be good. Really, really. I'm a huge fan of Princess Mononoke and Spirited Away, and after seeing all the glowing reviews on this earlier Miyazaki film, I was eager to see it. But I was shocked, shocked I say, at the quality of this film. Those later films boast well-crafted plots, 3-dimensional characters, and the best film music since...well...ever. This film just doesn't come close.

Might as well start w/ the positive aspects, though. Like all Miyazaki films, this one is still very imaginative, with a bizarre fantasy/sci-fi setting, in a post-apocalyptic world where insects are the dominant species. Nausicaa can also boast some far superior animation to other films from its time. (though not as beautiful and fluid as Miyazaki's later films) And the English voice acting is quite well done.

But this film...just...isn't...good... The characters are all cardboard - from saccharine sweet little Nausicaa, to the ruthlessly evil Tolmekians, to everyone in between. Once you've seen each of them for 30 seconds, you've seen all there is. And the fact that the plot just ambles along doesn't help.

Then there's the music... Now, Hisaichi is hands down my favorite film composer, but Nausicaa doesn't do him justice. Half the music is 80's keyboards on overdrive, and it usually enters and leaves so abruptly that it distracts the visuals rather than helping them. I highly suspect that Hisaichi was told to compose a lot of the music before he even saw the picture.

But wait! There's a great message with this film, right?! Let's all save the environment! Too bad that this film hits you over the head with it like a sledgehammer. There is a scene in which Nausicaa hugs a tree. No, really. I ain't kidding.

It makes me a little sad to talk about how lame this film is. But for some reason all the other reviews on IMDb seem to adore it. And when the characters have to talk to themselves in extended sentences to tell you what's going on, that's lame.

If you're the kind of person who worships anime, enjoys 80's music, and plants a tree every Arbor day, you will probably like this film. Otherwise, save your money for his later films, because they rock big time.
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output answer:
negative