input question: Select the correct sentiment of the following review: "Descent." Yeah. Boy... I haven't seen anything this powerful and scintillating since Bruno Dumont's, "Twentynine Palms" (2003). (By the way this film is not to be confused with another fairly recent pic about the topic of "female empowerment," "THE Descent" (2005), directed by our Splat Pack friend, Neil Marshall, who also happens to be a major talent his own right.) But getting back to this "Descent," the NC-17 rated (uh-oh) effort on which the lovely Ms. Dawson takes a producer's credit (congratulations) and directed by Talia Lugacy (strong chance that's not a real name), as good as it is (in moments), it will not be appreciated by most lay people out there because the script is pretty flawed. As a producer, you really have to tighten up that script. Of course, in the premise alone, you have the promise of rising conflict, but there still lies the task therein of accomplishing rising conflict.

At times, this thing plays like an interesting piece of experimental theater and, well, I guess I'll let the others who've already commented here speak to the boringness of it, namely that which occurs in the second act -but find me a second act that isn't boring? There's also this Catch 22 that goes along with these quasi-independent films like "Descent" in which Rosario happens to be attaching herself to and leveraging her "fame-identity" to get a script into production that would, under usual circumstances, not get made at all while at the same time she is basically a miscast in the film's leading role. Rosario Dawson is gorgeous and, apparently, you can shoot this girl from just about any angle all day long, but, oh, wow-wee, how fast the time just slips away: Rosy ain't no undergraduate no more. That's part of the confusion about the screenplay: "Is she a graduate student? A TA? No, graduate students don't really have these type of qualms with football players, do they?" Again, if you are Rosario Dawson, Executive Producer, that's the one of many, many aspects to the professional film process you'll have to think about as you embark on this wonderful new role in your film career. And if you don't have the answer to why you're movie isn't convincing, let me tell you: there is a boatload and a bevy of vivacious, well-qualified, undergraduate aged talents, pining to get involved in the business, who might have nailed that lead character down, all the while, looking just as darn good as you know who; but unfortunately without Ms. Dawson -no Honey, NO money. I have to say, the camera department did an outstanding job, however, because this film is really well shot (i.e. lit) in all its dreary/dreamy darkness. The nightclub scenes look wonderful; one can tell all those music videos are starting to pay off and the play with time... The shooting/framing is all quite excellent which makes the picture a rewarding watch.

"Descent" is good not great. However, I have a feeling, thanks to NetFlix, this movie will find a life of its own. I hope this group continues making films. If you're into experimental American film-making, cinematographic imagery of implausibly well formed college studs (or male model drop-outs) in their early twenties, or if you're an undergraduate, just plain angry at the hormonally aggressive young men that comprise less than half of your American university, "Rosario Dawson's Descent" might be your flavor of RockaRoll.
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output answer: positive

input question: Select the correct sentiment of the following review: As an avid fan of Cary Grant, I expected to watch this movie and howl with laughter, as AMC billed it as a comedy. I have never been more disappointed with a film! Cary's usual charm and effortless comedy are AWOL from this entire movie; he comes across as strained, bored, and just not himself. Mississip's character ranks among one of the worst stereotypes I have ever witnessed - his accent is terribly exaggerated (and incorrect, according to which part of Mississippi he claims to hail from), and whenever he does deliver a line, it's several decibels higher than any other cast member. Mississip tried to make himself stand out in the film as a lovable, country-bumpkin goofball, but in the end, he manages only to detract from the already weak plot. Mansfield looks more like an obscene blow-up doll than a Hollywood sex kitten, and while she was never known in Hollywood for her acting ability, this film screams that she never had that ability to begin with. Ray Walston's character was sugary and ultimately contrived. For four men on shore leave, it was the tamest leave I've ever seen. I watched this nightmare until its very end, and while I won't spoil that for anyone, I will tell you that it's the most absurd you'll ever see. The film tries to spark patriotism and a sense of debt to the fighting men, but the film misses that point totally because of its weak plot line and weak cast. Sorry, Cary!
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output answer: negative

input question: Select the correct sentiment of the following review: The story is very trustworthy and powerful. The technical side of the movie is quite fine.. even the directing of it. The main problem is with the castings, that turned that movie into almost another local and regular cliche with a great lack of impact and even greater lack of impression. Beside the small role of the father, Rafael (played impressively by Asi Dayan), all other actors were unfortunately not in their best. The role of the elder Blind girl, played by Taly Sharon, was fresh but without any intensity as the leading role. therefore the figure she acted had become mild and low profile. There were moments and episodes that looked more like a rehearsal then a real movie. But after all it's a good point to begin from and to make big improvements in the future.
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output answer:
negative