In this task, you must classify if a given review is positive/negative, indicating your answer as P or N.
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Question: tone alone can not sustain a film , but it can go a long way .
if i can find myself lost in the time and place of a story , it scores immediate style points .
when that tone is backed up by an outstanding story and great acting , the effect can be described best by an adjective i do not use lightly : " literary .
"
what 's eating gilbert grape ? is such a film .
it 's a rich , memorable and stunningly acted story of desire colliding with responsibility , staged in a manner which many viewers might find too prosaic , but which insinuated itself into my imagination with its confidence .
gilbert grape ( johnny depp ) is a young man living in rural endora , iowa , facing incredible responsibilities .
as the man of the house since his father 's suicide , gilbert must support the family by working at the local grocery store .
he also must watch over his mentally handicapped brother arnie ( leonardo dicaprio ) and help care for his extremely overweight mother ( darlene cates ) .
gilbert seems destined to spend the rest of his life in the small town until the arrival in endora of becky ( juliette lewis ) , a free spirit passing through with her grandmother when their truck breaks down .
as he spends time with becky , gilbert begins to think about all the things he is missing .
slowly his resentment builds , until he realizes that he can no longer live his entire life for other people .
director lasse hallstrom ( my life as a dog ) and
legendary cinematographer sven nykvist create a magnificent visual backdrop for peter hedges ' screenplay , based on his own novel .
endora is a town on the edge of the world represented by the giant foodmart , a tiny insular community where everyone knows everyone else .
the midwestern sunsets and sprawling fields are beautifully photographed , and the atmosphere of the town is intensely real .
minor characters , like crispin glover as the town 's mortician , are vividly realized , and there are echoes of the last picture show in mary steenburgen 's desperately unhappy housewife .
one of the most perfectly realized scenes focuses on the grand opening of a burger franchise , attended by the entire town and accompanied by the off - key high school band .
not a single note in the depiction of endora rang false .
the same can be said of the character of gilbert .
it 's testimony to the precision involved in his creation that he came together completely with one perfectly placed line , when becky responds to gilbert 's description of his father with , " i knew someone like that once .
"
gilbert is a man harboring an ever - growing bitterness about where he finds himself in life , a bitterness which reveals itself in moments of surprising cruelty .
in one scene , he allows local children to look at his mother through their window , displaying her like a side show attraction .
his entire life seems to be mocked by arnie 's repeated chants of , " we 're not going anywhere , " but instead of expressing his dissatisfaction he lets his anger simmer , and it becomes clear that he is following in his father 's footsteps in this regard .
johnny depp expertly demonstrates the tension central to gilbert by playing everything below the surface , but he never gives in to one - dimensional blankness or simply regurgitates his naif roles in benny & joon and edward scissorhands .
depp 's performance is overshadowed , however , by leonardo dicaprio 's astonishing oscar - nominated supporting work as arnie .
he puts to shame such big name actors as john malkovich and dustin hoffman , whose mentally challenged characters never seemed completely real .
dicaprio is perfect to the last twitch and squeal , and anyone who has ever spent time with mentally challenged kids will be hard - pressed to spot a flaw .
darlene cates , a first - time actor , brings real pain to her scenes as gilbert 's tortured mother , and laura harrington and mary kate schellhardt are solid as gilbert 's sisters .
only juliette lewis does n't quite click , playing a critical role with her now familiar dopey drone and too little genuine spark .
gilbert grape does seem to drift into its conclusion , but it never lost me .
thanks to a lovingly created setting and a marvelous cast , this 1993 release proves well worth the wait .

Answer: P

Question: note : some may consider portions of the following text to be spoilers . be forewarned .
like its own opening shot , from out of the darkness boogie nights triumphantly explodes upon the film scene with stunning authority and clarity , persuasively heralding its helmer paul thomas anderson as a bonafide major talent .
a sprawling epic set in the heart of the disco era and focused upon the ascension and decline of a troupe in the adult film industry , boogie nights is an astonishingly ambitious feature film which is completely effective both as an utterly entertaining joyride and as a strikingly impressive piece of filmmaking .
the film follows a soft - spoken young man , eddie adams ( mark wahlberg ) from torrance , through his induction into the erotic picture business to stardom , and later , to a harrowingly precipitous drop .
as boogie nights opens , he 's toiling as a dishwasher in a trendy san fernando valley nightclub , and living at home under the thumb of a tyrannical mother who denigrates him at every opportunity .
recruited by fatherly jack horner ( a rejuvenated burt reynolds ) , a successful porn filmmaker , eddie abandons his old life in favour of a new one as dirk diggler , pornstar .
wholeheartedly embraced by jack 's troupe , including the maternal amber waves ( julianne moore ) , reed rothchild ( john c . reilly ) , buck swope ( don cheadle ) , rollergirl ( heather graham ) , dirk and his " one special thing " are quickly propelled to the top of his field , fulfilling his mantra of being a " big bright shining star " .
his lack of discipline , however , incites a chain of circumstances which sees dirk and his friends unravel as a new decade is ushered in .
the element of boogie nights which literally commands attention is the bravura direction by mr .
anderson , whose fascination and prowess with the camera is obvious .
from the terrific tracking shot throughout a nightclub which opens the film and introduces the players through to the showy sequence in the camera follows a female partygoer diving into a pool , mr .
anderson 's accomplished command of the camera is without question .
while novice directors often demonstrate an unfortunate lack of restraint in terms of flamboyant camerawork which ultimately proves to be aggravating , impertinent and self - congratulatory ( case in point : marc rocco 's unforgettable perpetual - motion helming of murder in the first ) , in boogie nights every zoom or pan by mr .
anderson , be it slow and deliberate or energetically sharp , is purposeful and potent .
it 's a rarity and a delight to discover such a confidently assured work so early in a filmmaker 's career -- boogie nights is only his second feature film , following up his debut feature from earlier this year ,
hard eight -- and
although it 's somewhat derivative ( his storytelling style is reminiscent of robert altman , while in terms of visuals he 's clearly influenced by martin scorsese ) , at least he 's borrowing from some of the best , and it 's entirely effective within the context of this film .
while boogie nights is astonishingly polished from a technical perspective , in terms of sheer entertainment value it 's also rollicking good fun , with a wickedly deadpan sense of humour .
the film perfectly captures the essence of the disco period in terms of music , clothes , hairstyles , dance , idioms , and culture , aided immeasurably by impeccable production design by bob ziembicki and costume design by mark bridges , and boogie nights convincingly catapults the audience back to this recent , pre - aids - scare period in american history where uninhibited , free - wheeling lifestyles abounded .
while much of the film 's humour pertains to the characters ' obliviousness of now - outdated aspects of their lives then prevalent in society -- a prime example is part - time salesman buck swope 's demo of a stereo system with an eight - track tape , and inviting a prospective customer to get ' freaky deaky ' with the music -- it 's elicited with an undercurrent not of ridicule , but of wistful reminiscence , and some the throwback elements in the film are strangely wondrous .
a giant ensemble disco dance production number in a nightclub is funny , to be sure , but oddly magical , and the sequence which lovingly explores eddie / dirk 's bedroom , completely adorned with posters and elements of iconic 1970s figures ( farrah fawcett , cheryl tiegs , bruce lee ) is breathtaking .
ably supported by a well - selected collection of period music ( all of which purportedly came straight from mr .
anderson 's personal collection )
, there 's a clear affection for the era in boogie nights .
it 's the period aspect and the playfully comic nostaligism of boogie nights which has been played up in its marketing campaign in deference of the pornography element of the storyline ; the film 's promotional trailer markedly avoids any explicit reference to the adult film industry which unites its characters .
after the debacle with 1996 's milos forman film , the people vs .
larry flynt , another finely - crafted work which was knocked off the market prematurely due to controversy regarding its pornography - related storyline , the new line marketing team faced a unique challenge with boogie nights in terms of attempting to deemphasize the relatively risque erotic picture element of the story in order to increase salability to the general public .
however , while boogie nights delves into the world of the adult film industry of two decades ago , it 's hardly a lurid or seamy film -- given the subject matter , there 's very little nudity , and virtually none of it can be construed as gratuitous -- and boogie nights smartly depicts
erotic filmmaking not as a hotbed of carnality , but simply as a business .
the glimpses on the sets of jack horner 's shoots reveal that while the films he makes are intended to titillate , there 's a candid matter - of - factness in terms of sex ; his cast and crew are professionals who are merely doing a job , and it 's refreshing that the obvious cliches of depravity and sinful lechery often linked to dismissive portraits of adult filmmaking , such as coercion or debauchery , are avoided .
if anything , boogie nights is more interested in the process of adult filmmaking than the adult films themselves .
jack horner 's dream is an honourable one -- he genuinely aspires to make a great film -- and to some degree boogie nights is reminiscent of ed wood ( albeit lacking a certain wistful innocence ) .
in both films , the world of quickie low - budget filmmaking is explored , and both jack horner and the version of ed wood by tim burton , scott alexander , and larry karaszewski share similar mindsets -- jack 's retort of " there are shadows in light , baby " to his cinematographer 's complaint about poor set lighting echoes back to ed
wood 's
" it 's not about the little details , it 's about the big picture !
" rant when it is pointed out that his graveyard set for plan 9 from outer space appears patently false .
in boogie nights and ed wood , the aspirations of the respective filmmakers ' prove to be bemusing , not in their intentions -- there 's nothing inherently silly in the goal of making an ' artistic ' erotic picture -- but in the degree that they miss the mark .
much like the humour lacing ed wood , the laughs involving jack horner are double - edged ; after viewing a hilarious excerpt from one of his latest films which hybridizes the james bond and porn genres , when jack breathes " this is the best work i 've ever done " , it 's genuinely funny , but given his utter sincerity , also possesses a tinge of sadness .
mr .
anderson is at this point clearly a greater talent as a director than a screenwriter .
while boogie nights shows great inventiveness in staging , there really is n't any clever dialogue in the film , though a valid point certainly can be made that none of the film 's characters particularly lend themselves to thoughtful verbal exchanges ; when one considers that the film 's * protagonist * literally does n't say a single insightful thing throughout the entire 152 minute running time , it 's no wonder why the playfully inane " how much can you bench ?
" banter between dirk and reed constitutes one of the film 's finest exchanges .
and while mr .
anderson creates a rich collection of fascinating characters
, it 's problematic that some of the the threads given to the film 's characters are simply stale material -- julianne moore 's child custody battle is fairly cliched stuff , better suited for a less risque and uninspired tv - movie version of her character 's story , and far less interesting than the thread dealing with her woefully hackneyed filmmaking ambitions .
still , even if he does n't always know what to do with his characters , mr .
anderson most definitely captures their essences , and his resolutely nonjudgemental affection for them is infectious -- misguided , even aimless , hopelessly naive , self - destructive , insufferable : i loved them just the same .
in any case , it 's hard to pick nits with a screenplay which contains one of the most audacious and inspired ( and ultimately best - executed ) scenes of the year :
a scene where dirk diggler and reed rothchild are dragged along by their loose - cannon compadre to the home of drug baron rahad jackson ( a mesmerizing alfred molina in an unforgettable performance , even if it 's a small one ) in a suicidal drug deal scam , only to find that the millionaire is a crazed eccentric ( the part where he stops the deal to listen to the crescendo of night ranger 's " sister christian " on his stereo system is sheer brilliance ) flanked by an armed bodyguard .
if this scene already was n't tense enough with these elements , mr .
anderson introduces a chinese boy that wanders through the scene , who for no discernable reason is tossing firecrackers around the room , pushing the scene to a new , surreal level of delightful giddiness .
there are some other interesting touches in boogie nights .
mr .
anderson recycles the use of long methodical chimes on the soundtrack from hard eight ; here , it accompanies the violent intercut sequences which depict the prostration of various characters to frightening effect .
similarly , a painful scene where crew member scotty j ( philip seymour hoffman ) breaks down in tears in the driver 's seat , sobbing " i 'm so stupid " after being rebuffed by dirk after an awkward but heartfelt advance is strikingly played out exactly as a later scene with dirk in the driver 's seat after a particularly tumultuous and traumatic evening .
boogie nights is exceedingly well cast , and each of the actors rise to the occasion ; the ensemble cast is uniformly good .
while most of the acting accolades will no doubt go to mr .
wahlberg ( fulfilling upon the sparks of promise he demonstrated in some of his earlier films ) and mr .
reynolds ( terrific as the father figure and stable anchor of the film , ringing true in every respect ) , a handful of other performances
which might otherwise be overlooked deem mention .
mr .
reilly demonstrates here , as he did for brief glimpses in ulu grosbard 's georgia , a genuine aptitude for comedy -- many of his scenes in boogie nights are among the very funniest in the film .
i 'm not sure how much of his performance as reed was scripted and how much was done on the spot , but he plays the quintessential second banana character to a tee .
mr .
reilly is the best part of the big disco dance production number , and
it 's wickedly funny to watch his reed join in with dirk after the fact in threatening the new stud on the block during a macho altercation .
worth the price of admission alone is the glimpse of him getting down in the recording studio while the dirk character is laying down a numbingly bad ( and dead - on period ; it sure sounds like bad early 1980s to me ) demo track
" you got the touch " in a vain attempt at a musical career .
mr .
reilly plays his vacant character with utter conviction which is convincing and effective .
ms .
graham , with her long dirty blonde hair , innocent demeanour , and huge hazel eyes , looks like a disney animated heroine come to life -- or in this case , a disney animated heroine who came to life , made a wrong turn , and ended up on the new line lot in a film focused on the late 70s / early 80s adult film industry .
consequently , it 's a bit incongruous to see this cheery sweet - faced starlet whizzing about the set on her roller skates , but in a scene where she 's lounging in a limousine prowling the streets , garish red lipstick messily smeared on , giving the camera a hilariously pouty come - hither look , all one can do is gulp .
her role in the film sadly needs more fleshing out ( err -- in a figurative sense ) -- she 's essentially a glorified extra -- but she does score impressively in her key scene which is unnerving in its sheer primal ferocity .
( if only mr .
anderson had filmed the scene so that we could actually see the expression of rage and anguish on her face , though ! ) and a cautionary tale for the strict and prudish : as a teen , ms .
graham 's parents forbade her to take a part in the twisted cult classic heathers ; since then , her most notable roles have been as a junkie ( gus van sant 's drugstore cowboy ) and now a porn starlet .
draw your own conclusions .
perhaps the most quietly touching performance in boogie nights is that of mr .
cheadle , who lends dignity to his role as a character in search of his identity , and whose quest is comically manifested by a series of changes in his sense of fashion .
his relationship with his cheerfully supportive new wife jessie st .
vincent ( an interesting melora walters ) is wholly compelling has genuine sweetness , and although his general longing for acceptance from others is perceptible , it 's no more so than in the bank scene where his loan application to open a stereo store is rejected due to his background in the porn industry .
while the scenario is familiar , the wounded look in cheadle 's eyes makes the scene unforgettable .
luis guzman 's most famous work is possibly in brian de palma 's carlito 's way , and here he plays a variation on the same character : maurice t .
rodriguez is a hapless but good - natured nightclub owner who 's a hanger - on to jack 's group , ingratiating himself into the clique and constantly hounding jack , with little disguise made of his desperation , for a part in one of his erotic pictures .
jack 's eventual acquiescence to maurice 's request leads to one of boogie nights ' biggest comic payoffs .
boogie nights is a stunning achievement due to the virtuoso direction by mr .
anderson , who immediately asserts his presence in the film industry as a presence of note with this work .
striking a fine balance between humour and drama , and exceptionally well - crafted , there 's no doubt that boogie nights is among the very best films of the year .

Answer: P

Question: it 's tough to really say something nice about a type of person who 's so ethnocentric that any humanity they once had is now gone , but by god , " american history x " does it , and for that , i commend it .
it not only takes balls but intelligence to make a human being out of a neo - nazi skinhead , a kind of person who dedicates their lives to hating anyone who 's not what they are , and this film wisely and miracurously pulls it off .
the subject of this film is one of them , but he is worse than one of the blind followers that make up most skinhead members since he is the leader of the pack .
he 's the one who instigates them to take a firm grip onto their rage ,
and then in another brilliant stroke , justifies it with political propoganda that makes eerie sense when he speaks .
he 's so utterly convincing as a public speaker and so firm in his convictions that it comes as a shock when he actually goes through the rehabilitation process .
his name is derek vinyard , and he 's played by edward norton with so much fire and intensity that when he speaks he 's almost as convincing and arresting a public speaker as , say , malcom
x. when we first see him , he 's clean shaven , with a jet black swastica emrboidered on his left breast , a devlish goatee , and he 's attacking the black carjackers outside of his house dressed in nothing but his white boxers and carrying a handgun in his hand that never seems to run out of bullets , at least when he does n't need them .
he so believes in his convictions that he 's willing to put his beliefs to the test , even if he knows it will mean a stop in prison , if only for a couple years .
" american history x " is about derek , how he became a neo - nazi skinhead , how he rose to power , how he was rehabilitated in prison after murdering two black men in a fit of rage that was less to do with the stealing of his car and more to do with proving himself , and how he tried to save others , namely his younger brother , from making the same mistake .
we see him at all of these stages - as a smart teenager , a vicious hate monger , a man having an epiphany , and the man who tries to correct what he 's done before - and in all of these , we get a portrait of a man from all sides .
or at least , that 's the intention .
the film 's framing device is his brother , danny ( edward furlong , perpetually looking about 13 ) , also now a skinhead , and how his principal , bob sweeney ( avery brooks , who i just found out was or is the captain on star trek 's deep space 9 ) , is trying to " correct " him .
when the film opens , danny has just written a book report on " mein kampf , " landing him in trouble with sweeney , which causes him to make him write a paper on derek 's life and how it has gotten him nowhere .
coincidentally , this day is the day derek is released from prison , and when we see him , he 's cleaned - up , not as buff , and has a full head of hair .
he 's just as intelligent , but still very rough along the edges , but he 's wisened up .
he 's no longer controlled by his anger at blacks and jews , and tries to persuade danny , who 's becoming what derek was before , to give up his lifestyle .
but danny wo n't .
he goes to a large skinhead beer bash , meets with the skinhead leader ( stacy keach ) , and then discovers that derek is as opposed to neo - nazi - dom as he was for it a couple of years ago .
the film circles around this , then spins off into non - linear flashbacks , all done in black and white .
we mostly see derek at his prime as a skinhead , living in venice beach , organizing vicious and quasi - sadistic raids on local stores that no longer hire the white , middle - class teenagers since they can easily get cheaper illegal immigrants to do the same work , and mouthing off his theories on affirmative action and how illegal immigrants and blacks have destroyed the fundamentals this country was built on .
to them , the white man is the one who has gotten the fuzzy end of the lolipop , and he not only speaks elloquently , forcefully , and intelligently , but he backs everything up with political reasons , justifying their rage at least to them .
and frighteningly enough , much of what he says sounds true .
" american history x " is a collection of really great scenes and moments , rather than a cohesive , great film that flows effortlessly from one moment to the next .
in it , there are some of the best scenes i 've seen all year .
one scene features a dinner between derek 's family , and his mother 's newest boyfriend ( played with reserve by eliott gould ) , a jewish liberal who quietly disagrees with derek 's rightist views , launching the scene into a fit of rage and anger that builds unparalled emotions in the audience ( gould 's reaction to derek 's final summation is unnerrving ) .
another scene uses humor and traditional macho sex talk to build a friendship and a nice connection between derek and a black co - worker ( guy torry ) while folding laundry in prison . and another soon - to - be - classic is actually divided in two : the murder of the two black men that winds derek in jail , which contains a final murder so nasty that it may be the most revoltingly shocking all year .
there 's much more to appreciate , like the acting , which is uniformly good ,
with stand - outs coming from avery brooks , beverly d'angelo ( as the long - suffering mother ) , and gould ( who has one horrible line , but other than that , comes off with the best performance
he 's given in what seems like a really long time ) .
norton walks off with the film , though , coming off with such intensity that he reduces anyone not doing an adequate job to rubble .
in only the fifth movie of his career , norton has invented himself as one of the most reliable and intense actors of his generation , and maybe the best .
there 's nothing like it when norton really gets rolling in this movie , spewing out lines with such authority that he commands all attention from the audience , coming off with power similar to that of a young maron brando .
that he allows the little emotions to seep through is amazing .
sadly enough , this is n't going to be the great portrait of racism that it perhaps hopes to be .
it 's too unambitious and even a little contrived to really take off as either a powerful statement or an emotional masterpiece .
the ending , especially , is pencilled in from other movies , tossed in just so the emotional keyboard can be trounced upon .
some of the skinheads are reduced to mere cliches ( kevin smith regular ethan suplee fairs rather annoyingly as the " fat skinhead , " whose lines consist without fail of expressing his desire to eat more ) , and even the dramatic arc is n't as well travelled .
furlong 's danny never seems to really be learning a lesson , since the flashbacks refuse to show his point of view , and when he decides to make a change by the end ( which was inevitable ) , it does n't seem like it has actually arrived there .
even derek 's descent into skinhead - dom does n't seem justified .
though his fireman father ( william russ , the dad from " boy meets world , " and do n't ask me how i know that ) is killed by a black junkie , and even before he spoke against affirmative action intelligently , there never seems to be any real back story why derek became so intense about his beliefs .
as such , one can see why the director , tony kaye , wanted to have his name removed . sorta .
" american history x " is a very good movie , and i was very moved by it , but it could be a lot better , and the problem seems to be that the cut as it is is not up to what he claims to be his potential .
somewhere , he claims , there lies a tony kaye cut , and that was to be the true cut until it was viewed by norton , who then ordered another cut , and that is thus .
although he aimed for the directing credit to go to " alan smithee , " the resident name for any film that is to be disowned by its director , it was n't allowed to him , under the grounds that once you disown a film , you can not badmouth it ( but really , that 's the macguffin - no one really wanted a film this good to be given the alan smithee sign of disapproval ) .
kaye 's right in that it 's not up to par , even if he 's not referring to normal par but rather his own personal par .
this will not be a " do the right thing " for the late 90s .
yet it still gets its point across intelligently , and backs it up with its story ( its message , that one can not be so enwrapped in one 's own beliefs or pain and suffering will occur , is literally said over the narration , unfortunately ) .
and even if it is n't perfect , at least when avery brooks turns to norton after he has been beaten and raped in prison , and asks him if anything he 's done has made his life any better
, it realy hits a nerve , not only in derek , but also in the audience .

Answer:
P