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

at first glance , it appears that the home alone movies are brainless slapstick intended for those with minds of 8-year olds .
that 's true of home alone
2
and i 'd bet money that it 's true of home alone
3 ( opening soon ) .
but home alone
actually has a lot going for it , and the cartoon slapstick does n't get in the way .
the mcalisters , all 15 of them , are going to france for the holidays .
four adults and eleven kids are spending the night together before heading to the airport en masse .
the littlest kid , kevin , is the victim of the older kids ' cruelty .
kevin 's patience runs out when he learns that his plain - cheese pizza has already been eaten , and he 's going to have to starve .
he attacks his big bully brother buzz , who had been teasing him .
the fight disrupts the already - chaotic dinner , spilling milk and soft drinks all over the table , a few cousins , and an uncle .
the knee - jerk reaction is for everyone to blame kevin .
nobody came to his rescue when he was being teased , but they all point their fingers when he fights back .
the ultimate punishment comes from mom ( catherine o'hara ) who sends him up to the spare bedroom in the attic for the night .
on his way up the stairs , he tells her that " families suck " and that he hopes never to see any of his family again .
that night the power goes out , knocking out the alarm clocks , so the mcalisters wake up in a big hurry to get to the airport .
in a surprisingly plausible setup , kevin is mistakenly accounted for , and the family heads off without him .
it 's interesting that , in a subtle way , his parents never noticed him missing because of their deliberate desire to separate themselves from their children .
first they delegate the headcount to an older sibling , and second , they put all the kids in coach while they fly first class .
they 're two - thirds of the way across the atlantic before they realize they are missing a child .
meanwhile , kevin believes that somehow his wish has come true .
he 's finally rid of his family !
life is a dream come true .
he can jump on the beds , watch r - rated movies , eat gobs of ice cream and potato chips , and dig through his big brother 's secret box .
slowly , the novelty wears off and he settles into the mundane .
he grooms himself , he does the laundry , he goes shopping ( " i bought some milk , eggs , and fabric softener " ) .
he also starts to miss his family , not just for their company , but for the security they bring .
the furnace in the basement is a scary monster , the old man next door is a snow - shovel murderer , and two crooks are trying to break into his house .
macaulay culkin is cute but he is n't much of an actor .
still , we can see that kevin 's character grows , thanks to some good direction and editing
.
for example , acting has little to do with the emotional impact of the scene where kevin searches out a seasonal santa at night , just as " santa " is getting in his car .
kevin asks the man to pass on his request - he wants his family back - to the real santa .
he learned how to deal with the furnace .
you turn on the lights and it 's not so scary anymore .
he goes to a church one evening
and there he sees the snow - shovel murderer , who actually turns out to be a nice man .
they talk about their fears and kevin learns that age alone does not make you less afraid .
finally , in the last 20 minutes , kevin confronts his last fear - the bandits , head on ( literally ) .
this last act is full of violent comedic slapstick , and after the movie 's genuine dramatic setup , it is dessert .
it 's a lot of fun , and it does n't overwhelm the rest of the movie
.
on the whole , home alone is a great holiday movie .
john williams ' original score has the sound and feel of holiday music without the disadvantage of being overplayed at the malls , and the christmas setting can put you in the mood for those family gatherings .
but it does have its flaws .
the smallest problem is that culkin does n't act very well .
as i said before , he is cute , but repeated viewings reveal more about how columbus covered himself than about culkin 's insight into his character .
the biggest problem is that during the cartoony coda , the villains threaten kevin 's life about five times .
instead of " i 'm gon na get that kid
" they say " i 'm gon na kill that kid .
"
some might argue that the tone is the same , but i strongly disagree .
mixing comedy with specific and viable threats of murder is a sociopathic faux - pas .
i 'll probably never see home alone 3 , and i wish i had skipped home alone 2 , but i do enjoy home alone almost every year
.
do n't let your impressions of the others detract from the original , which has much more to offer than cartoon slapstick .
P

for about twenty minutes into mission impossible 2 director john woo ( the killer , hard boiled , face off ) appears to have made an exciting , elegant , charming spy thriller , kind of a post millennium james bond adventure with a strapping american ( read : unsophisticated ) hero more willing to drop kick villains than out fox them .
sadly , as the picture progresses , the final product begins to bear a closer resemblance to a souped up , two - hour long episode of magyuver .
and not a particularly good one at that .
what went wrong ?
mi2 begins flashily enough , that initial flash leading us to believe that it 'll soon give way to something of a plot , but it only gives way to more flash , then digresses further into a presumably unintentional parody of itself with much slo mo posturing and countless action set pieces wherein bad guys seem to deliberately leap into the way of tom cruise 's firing gun just so they can die really cool .
early on , during a car chase between soon to be lovers ethan hunt ( tom cruise ) and nyah nordoff - hall ( thandie newton ) , woo works some of his trademark magic .
in one hypnotic , though completely inexplicable sequence , the director slows the action down to a languid semi - stall as cruise and his stunning opponent stare into one and other 's eyes with come hither sexuality ? ? ?
just as their respective cars smash and spin in accordance , coming ever so close to toppling over a neighboring cliff .
prior to this we see the famed trailer opener of cruise climbing a steep mountain , sans scaffolding , then leaping from one jagged rock formation to another .
why ?
i have n't the foggiest .
i doubt even john woo could provide you with a logical reply .
with mi2 woo has become a slave to the summer movie machine , the one that jettisons logic for gravity defying effects and story for more gravity defying effects .
it 's possible that these " spies " could be adrenaline junkies climbing mountains and crashing into each other as means to get off , though of course this is never explored .
the scenes i 've described are really only included to titillate , not to give any insight into character .
god forbid .
woo certainly knows how to make each set piece energetic , but they remain individual set pieces never connecting to form anything more than splices of beer commercial - like visuals .
still in terms of crackerjack eye candy , the opening has much to cherish .
cruise and newton first meet during a vigorous flamenco dance featuring several welcome woo devices ( the graceful slow mo artistry of synchronized movement juxtaposed against the stage 1 romance of two attractive individuals discovering how attractive the other is ) .
between the frantic dancing , woo trains his camera on cruise and newton as they make with some sensuous eye contact .
the scene is a little over the top in a bon jovi music video circa 1988 kind of way , yet it has style and something of soul , and woo casts a bit of a spell on us .
sure it 's all smoke and mirrors , but we can see that there happens to be a talented maestro behind this particular product .
thandie and cruise later meet in a bathtub in a scene that 's about half as playfully charming as the jennifer lopez \ george cloony trunk meeting in out of sight .
they flirt and exchange obvious double entendres .
newton bats her eyes flirtatiously .
cruise grins a little too slyly .
the cruise character , ethan hunt , has been drastically altered since the first film .
here cruise plays him more as a hip , sexual dynamo than the square jawed robot he impersonated in part 1 .
he 's cool and dashing , which is precisely the kind of role we want to see cruise in after watching him sleep walk through eyes wide shut ( which might just be the longest episode of red show diaries ever committed to film ) , and blustered his way through magnolia ( quite possibly the most overrated performance of the 90 's ) .
sadly as the film progresses we see less of cruise 's initial " i 'm the man !
" charm and more slo - mo close - ups of his preening mug .
mi2 falls apart on nearly every level during its repetitious third act , which is essentially one hour long action sequence that just wo n't stop .
the whole thing commences with an utterly generic gun battle ( the first gun fight in the film ) , which really should be unheard of in a john woo film , but alas this particular battle could 've been staged by anyone from renny harlin to joseph merhi ( of course excepting the " symbolic " pigeons who seem to find their way into every john woo picture ) .
we 've all seen guys slide across the floor in slo mo while firing a gun in each hand .
it is n't done any differently here .
the action is pure hard target \ broken arrow theatrics with nothing to propel it but the apparent need to see tom cruise drop kick face less villains while his hair whips stylishly in the wind .
he 's cool for sure but
he 's made to be as empty as the movie .
the actor is n't used so much for his boyish appeal as for his chiseled looks ; he smiles narcissistically into the camera at literally any moment , be it during a gunfight , before one or after one .
when he 's not beaming away , he 's staring into the lens with cold eyes trying to look mad as hell , but woo 's editing seriously undermines the effort .
he fetishizes cruise 's angular face with such glee that it turns into a naked gun style spoof .
i half expected cruise to peel off his facemask and reveal that he 's really austin powers .
in a classic woo action moment , ethan hunt struts past a fiery doorway glaring at the baddies within its frame like a pin - up boy angel of death .
the gunfight turns into a daring escape which turns into a reckless mission which turns into a motorcycle attack in which bad guys seem to angle directly for cruise to kill them like some kind of mass suicide ritual ( one dumb bastard even jumps his bike over the gun toting cruise , basically inviting our handsome hero to shoot him in mid air which he does ) .
the lead bad guy ( played by the appropriately british dougray scott ) and cruise face off in a mentally deficient game of chicken ? ? ? on motorcycles .
though instead of jumping off to the side at the last moment , the two grown men leap directly into the other giving each other a mid air bear hug , only to fly about a hundred feet ( still in bear hug position ) , land on a beach below and begin a mano - e - mano fist fight that ends with the bad guy pulling a " so you thought i was dead . . .
"
.
not to worry , cruise takes care of the problem without even breaking a sweat .
what a hero !
you may have noticed that i opted not to describe an iota of mi2 's plot .
my reasoning is simple : i 'm not sure of any good it would do .
the film itself has absolutely no concern with story , only with hurtling forth to the next " special " effect .
i was n't kidding when i told a friend of mine that mi2 has less plot than the average aerosmith video .
nobody will go to this for the plot , and if they do they 'll surely regret it .
as summer movies evolve ( or devolve ) character and plot have become increasingly whittled down to nearly nothing .
in mi , the plot seemed to be built around brian de palma 's ( that film 's director ) stylistic flourishes , while in mi2 the plot only serves to give us an intermittent breather from woo 's non - stop masturbatory pandemonium .
it 's irrelevant in every sense , as is character .
all that ultimately matters are those pesky smoke and mirrors .
N

robin williams has the rarest of gifts : the ability to rise above the most inept material and suffuse it with his irreverent style .
overwhelmingly , his worst films are pleasantly diverting at worst and enjoyable at best ( with the notable exception of flubber ) .
so when i , the one person who has refused to abandon him despite patch adams , tell you that not even williams can save his latest project , you know
it 's in trouble .
jakob the liar is a confused , muddled little movie ; a generically " uplifting " film with a fundamental contradiction :
the message it delivers is depressing as opposed to inspiring and the movie does n't realize it .
williams plays jakob haim , a jew imprisoned in a polish ghetto during world war ii .
one night he wanders outside after curfew and is promptly sent to the office of a high - ranking german officer for his punishment .
jakob gets off easy and he gets to hear approximately 30 seconds of a radio broadcast .
the announcement ( in english , but punctuated by a triumphant " heil hitler ! " ) is that russian troops are only miles away from jakob 's ghetto .
liberation !
he thinks .
the next day , jakob tells the news to his closest friend , a volatile prize fighter named misha ( liev schreiber ) , who despite being sworn to secrecy passes the message along .
soon , it is a common assumption in the ghetto that jakob has a radio hidden in his home -- a crime punishable by death .
this is absurdly false , but the more jakob tells the people of the ghetto this , the more convinced they become that he is abreast of the latest developments in the war that is to decide their fate .
the danger , of course , is that the germans allegedly have informants throughout the ghetto , and rumors about the radio can get out and put jakob in great danger .
in a curiously irrelevant subplot , jakob finds a 11-year old girl who has separated from her parents and decides to hide her in his small home .
apparently he is afraid that she will be discovered , and goes to great length to make sure of that -- just why the idea frightens him is never made clear .
he and the girl build an uninvolving , generic relationship that never goes anywhere and is as irrelevant at the end as it was in the beginning .
the moral of the story is that hope is the best medicine .
but jakob the liar forgets that the hope that jakob brings to his ghetto is false .
such hope inevitably leads to expectations of its realization and when those expectations are n't met , the results are far worse than if there was no hope .
that 's the film 's biggest detriment : it is based on a false assumption and thus comes off as painfully false .
it 's never moving because it does n't give us anything to be moved by .
jakob the liar
fails to tug any heartstrings which destroys its purpose for existing .
robin williams does n't inject the film with life , as a matter of fact , he seems a little out of it , as if crippled by his fake accent .
he is stragely unenthusiastic ; his character is one who spreads hope but his performance is lifeless , hopeless .
not since good will hunting
has he abandoned his signature style to this extent ; this is n't the robin williams we know and love .
in good will hunting he became a serious actor and won an oscar for it . here , he is more of a wannabe serious actor ; an impostor .
jakob the liar will be compared with last year 's life is beautiful because it is being marketed as a " holocaust comedy " .
it 's not a comedy .
it tries , sometimes , but it rarely works
.
is it a melodrama ? a war movie ? a character study ?
no , no ,
and no .
jakob the liar is the kind of movie that ca n't be placed into a category ; not because it covers so many different genres but because it fails at just about every one it attempts .
N