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

jacques tati 's 1953 classic " les
vacances
de m . hulot " ( also known as " mr .
hulot 's vacation , " in english ) ought to be the textbook on how to do non ?
dialogue comedy in film .
the characters hardly ever speak to each other directly , and the film operates on the paper ?
thin premise that monsieur hulot , played by tati himself , is awkward and clumsy and generally manages to annoy the other guests at the beach resort hotel where he is taking a week 's vacation .
yet the film had me beside myself laughing more consistently than any in recent memory .
part of the reason the film works so well is the clever setup for the various gags .
slapstick has often been regarded as an unsophisticated and even crude form of comedy , but i think part of the reason for this is that it often seems forced : you can only see movie characters start running after something and then crash face - first into a pole so many times before you start to wonder what all these poles are doing there in the first place or why these people do n't watch where they 're going .
in " les vacances de m . hulot , " the gags build upon each other and often start out relatively low - key .
in one sequence , for example , hulot is painting the side of his small row boat on the beach when , while his back is turned , the paint can gets caught up in the oncoming waves , washes away , then comes back up on the other side of the boat .
while crossing over to get the can , hulot steps in the boat and unknowingly cracks it .
when he actually takes the boat out into the water , it breaks in half , but the two halves flip up against each other , trapping him inside as the bystanders mistake it for a shark fin and panic on the beach ensues .
tati does n't waste a single opportunity for humor ;
scenes that might have yielded one joke in most comedies are good for at least four or five in this film .
it has been said that comedy relies on frustrating the audience 's expectations , and " les vacances de m . hulot " succeeds brilliantly in that area as well .
tati accomplishes this largely through a sort of deadpan understatement .
when hulot goes into a separate room during dinner and starts playing a record at defeaningly loud volume , no fights or shouting matches ensue ; instead , the waiter calmly walks in and shuts off the power in the room , disconnecting the record player and leaving a puzzled hulot sitting in the dark .
tati also uses running gags to this effect , allowing them to keep running far longer than most comedy directors would ; more often than not , we can see them coming and think , " oh , he 's not going to do that again , " but , lo and behold , he does .
for example , there is a recurring joke in which hulot 's noisy , sputtering car engine wakes everyone in the middle of the night as an exterior shot reveals the hotel 's lights coming on one by one .
then this image turns up again in the finale , which i will not give away other than to say that involves a lot more noise in the middle of the night than a car engine could ever produce .
the ending is one of two elements that really make this a four - star film as opposed to merely an above - average , clever comedy . as much as i was laughing during this film , i was thinking to myself occasionally that tati had to top himself at the end to really make this work as a complete viewing experience ; suffice it to say that he did .
the other important aspect is that the film never seems disdainful of its characters .
it easily could have turned the tables on hulot and had the other guests exact some kind of revenge on him ; alternatively , it could have portrayed the others as humorless curmudgeons .
instead , tati seems to regard his characters with cheerful amusement more than anything else and invites the audience to like them , however strange or irritating they might seem .
" les vacances de m .
hulot " is not subtitled , but the dialogue is sparse and for the most part not terribly essential to the flow of events .
anyone with a taste for this kind of absurd humor ought to make this film their next rental from the video store .
note : " les vacances
de m . hulot " was not rated by the mpaa .
it would at most receive a pg rating .
P

this sunday afternoon i had the priviledge of attending a private screening at the sony astor cinema in new york city , of james cameron 's most heralded film , titanic .
postponed from last summer , with an escalated budget that makes it the most expensive movie in history , this was one film i was eager to preview .
so , is this movie going to sink or swim this holiday ?
my best guess .
. . . it will sink , though with many awards attatched to its hull .
no doubt , titanic is the most elaborate disaster movie ever made .
it boasts the most amazing effects that i have ever seen done to date .
to see a ship fall apart , with actual people running across the ship , flying across the deck , and falling to the water , is just amazing to look at .
the effects are so stunningly realistic , you would swear you were looking at actual footage .
but titanic is more than a disaster movie , and that 's where the problem lies .
there is a love story attatched that nearly ruins the entire premise .
i 'll give a capsule summary of the story without spoiling anything for you : the film begins with a modern day excavation of sorts of the sunken titanic .
we see actual footage of the sunken ship , as cammeron had set up special cameras to film the wreckage on the ocean floor .
bill paxton leads the expedition , in search of sunken treasure .
what he finds instead , leads him to a mysterious old woman who recounts her tale of the titanic voyage .
we meet rose ( kate winslet ) , a young woman , who comes from an upper - class family .
rose is to be we d to a man she does not love .
we meet jack ( leonardo dicaprio ) , a young man , who comes from a poor financial background , and wins a ticket aboard the titanic , in a poker game .
the two meet under interesting circumstances , and the love story begins .
add in a jealous fiance , and a not - so - nice law officer played by david warner , and you have a story that , well , gets a bit overplayed and oversappy .
i must add , at this point , that the most likeable character in the movie is played by kathy bates , as a woman with " new money " who is a lot less uptight than the other rich folk on the ship .
she is a pleasure to see on screen .
when the ship does hit the iceberg at exactly 1 : 40 into the film , and eventually sinks , you never really feel for any of these characters .
the film is just loaded with unlikeable rich snobs and other folk you never really get a grasp on .
the effects are tremendous .
from the roars of gears and pumps in the engine room , to a doomed ship cracking at the seams , this is an effects picture that looks and sounds like no other .
we saw titanic in dolby digital surround , and by far , it is the best sounding movie i have ever seen .
my friend commented it was the best sound mix he has ever heard
.
when people are in the water , at film 's end , you are surrounded by the voices of lost soles .
titanic runs far too long .
the movie is 3 hours and 15 minutes in length .
and , while most of the first 2 .
5 hours runs very fast and well - paced
, the final 45 minutes almost comes to a sudden stop , and you realize that this sappy love story has to finish itself out before the movie finally ends .
do n't get me wrong about titanic . . . .
it 's not a bad as i am making it out to be .
it really is an exceptionaly well - made film .
the costumes and sets are incredible , and true to the time period .
the ship is painstakingly created exactly true to form , as we see actual pictures of the modern - day wreckage , transformed into the movie depiction .
this film will certainly win on effects , costume , set design and sound .
cameron has certainly made his best film to date .
unfortunately , titanic is not a best picture candidate .
it just does n't have a strong supporting story .
it 's an exceptional disaster film with sappy filler inside .
it just does n't have the emotional impact that i suspect mr .
cameron was shooting for .
i predict that titanic will open to likeable reviews .
it is a film worth seeing .
i predict that it will only do moderately well at the box office .
with its extreme running time , and lack of enough robust to get substantial word - of - mouth , i expect that it will do even better on home video .
this will certainly be the definitive ac3 movie for all you home theater enthusiasts .
titanic opens december 19th , and is released by paramount pictures and twentieth century - fox .
i give titanic 3 stars ( .
that 's not bad .
ron epstein riginally posted in home theater forum
= = =
P

as feel - good formulaic as it may be in its own way , shall we dance ? also demonstrates a kind of charming restraint you do n't often find in american films .
this japanese import tells the story of a middle - aged accountant named sugiyama ( koji yakusho ) whose mundane life is shaken up one night when he spots beautiful mai kishikawa ( tamiyo kusakari ) in the window of a dance school .
intrigued by her melancholy demeanor ( and slightly infatuated with her ) , sugiyama signs up for weekly classes at the school -- and , much to his amazement , ends up as attracted to dancing itself as to his young sensei .
meanwhile , sugiyama 's wife ( hideko hara ) becomes suspicious of his late wednesday nights , and sets a private detective on her husband 's trail .
in a hollywood film , you can bet that sub - plot would be turned into a stream of slapstick comedy and crazy misunderstandings .
in shall we dance ? , writer / director masayuki suo dispenses with it in a matter of minutes , using it to set up later character interactions rather than letting it overwhelm the story with pratfalls .
neither does he make the climactic moment of victory a competition between the hero and some mean - spirited token rival .
suo gives his comedy the graceful movements of his subject matter , allowing the humor to flow from the characters rather than forcing it upon them .
an opening prologue in
shall we dance ?
goes to some effort to place the film in a sociological perspective , explaining how contrary ballroom dancing is to the japanese sense of propriety .
it 's a forced message in a story which does n't need such a culture - specific angle .
the dance school in
shall we dance ?
plays the role of a singles ' mixer , with everyone vaguely embarrassed to be there yet taking the opportunity to try on new personalities .
most amusing among these new personalities is the one adopted by sugiyama 's co - worker mr .
aoki ( naoto takenaka ) , a balding systems analyst who becomes a fiery latin lover when he dons a frizzy wig and begins to rumba .
sugiyama 's awakening is less overt , but koji yakusho does a wonderful job showing a transformation of small steps .
it 's a delicate performance with a huge heart .
shall we dance ?
is a fairly lightweight experience , which makes its final half hour rather a long sit .
suo crams a lot of exposition into very little time , including an unnecessarily detailed back - story for mai , resulting in a sluggish march towards the resolution .
it is here that shall we dance ?
feels most hollywood - conventional , attempting to blind - side the audience with a truckload of emotional catharsis .
suo might have been better advised to conclude with the small gem of a scene in which sugiyama and his wife take their first tentative dance steps together .
that 's the real joy of dance
shall we dance ?
conveys :
its ability to create an intoxicating mood of romance which can soften the stiffest shirt .
P