input question: Select the correct sentiment of the following review: This low-grade Universal chiller has just been announced as an upcoming DVD release but, intended as part of a collection of similar movies that I already had in my possession, I decided to acquire it from other channels rather than wait for that legitimate release. Which is just as well, since the end result was not anything particularly special (if decently atmospheric at that): for starters, the plot is pretty weak even though in a way it anticipates the Vincent Price vehicle THEATRE OF BLOOD (1973)albeit without any of that film's campy gusto. What we have here, in fact, is a penniless sculptor (Martin Kosleck) whom we even see sharing his measly plate of cheese with his pet cat! who, upon finding himself on the receiving end of art critic Alan Napier's vitriolic pen one time too many, decides to end it all by hurling himself into the nearby river. However, while contemplating just that action, he is anticipated by Rondo Hatton's escaped killer dubbed "The Creeper" and, naturally enough, saves the poor guy's life with the intention of having the latter do all the dirty work for him in gratitude! Although it is supposedly set in the art circles of New York, all we really see at work is Kosleck and commercial painter Robert Lowery (who keeps painting the same statuesque blonde girl Joan Shawlee over and over in banal poses how is that for art?) who, conveniently enough, is engaged to a rival art critic (Virginia Grey) of Napier's! Before long, the latter is discovered with his spine broken and Lowery is suspected; but then investigating detective Bill Goodwin gets the bright idea of engaging another critic to publish a scathing review of Lowery's work (I did not know that publicity sketches got reviewed!!) so as to gauge how violent his reaction is going to be! In the meantime, Kosleck deludes himself into thinking that he is creating his masterpiece by sculpting Hatton's uniquely craggy and recognizable visage which, needless to say, attracts the attention of the constantly visiting Grey (we are led to believe that she lacks material for her weekly column)much to the chagrin of both artist and model. Bafflingly, although The Creeper is fully aware of how Grey looks (thanks to her aforementioned haunting of Kosleck's flea-bitten pad), he bumps off Shawlee who had by then become Goodwin's girl! in Lowery's apartment and, overhearing Kosleck talking to (you guessed it) Grey about his intention to dump him as the fall guy for the police, sends the slow-witted giant off his deep endeven down to destroying his own now-completed stony image. Curiously enough, although this was Hatton's penultimate film, his name in the credits is preceded by the epithet "introducing"!
....
output answer: negative

input question: Select the correct sentiment of the following review: Sunday July 16, 8:00pm The Castro, San Francisco

"As a Southern colonel your make-up is very Indiana"

The yammering gossips of Hollywood have managed to sling more than a little mud in Marion Davies direction over the years. That she had fame handed to her and was undeserving, is often speculated. Considering the mawkish dramas she was so often pushed into, this criticism would seem to have some validity. As a comedienne however, her star shone very brightly. Left to pursue a career in light comedy and slapstick she might have rivaled Mabel Normand. One of her better outings was King Vidor's Show People (1928), which survives and is so well known largely because MGM filled it with star cameos. This happy coincidence inadvertently saved what is surely among the best work of its two stars, Davies and that notorious Joe College wise-cracker, William Haines. Rumor has it Show People was loosely based on the life of Gloria Swanson, who began in Sennett comedies and rose to grand drama (And don't think she didn't spend the rest of her life reminding everyone!) with von Stroheim, Walsh and DeMille. Coincidentally, the comedy studios used in this film are the original digs Keystone had abandoned the year before (Think of who worked there!).

Colonel Marmaduke Oldfish Pepper (Dell Henderson) drives his daughter Peggy (Davies) from Georgia to Hollywood to star in the movies. These two country hicks are unsuspecting fodder for incorrigible Billy Boone (Haines), " a custard pie artist " who descends on their cafeteria table in an outrageously funny entrance (watch for the bit with the noodle), and then helps Peggy land a part in his next picture. What she thinks is high drama turns out to be screwball, but a job is a job and Billy convinces her " . . all the stars have to take it on the chin ". At the preview, Billy and Peggy bump into .. Charlie Chaplin, who asks for her autograph! She pushes the little fellow aside and a horrified Billy grabs the book and makes her sign. Chaplin climbs in his car and Billy tells Peggy who shes just snubbed, so naturally, she faints. It's so very funny, considering Davies character isn't supposed to recognize this guy! Peggy soon moves on to work at the High Art Studios, changes her name to 'Patricia Pepoire' and leaves poor Billy behind. Davies does a wonderful send-up of a serious actress, with all the prerequisite fluttering eyelashes and quivering lips. Vidor throws in a parade of stars eating lunch in a long tracking shot (and they're all sitting shoulder to shoulder, facing the camera!) that includes Polly Moran (Who's also sensationally funny playing Davies' maid), Louella Parsons (one of the friendly vampires), Estelle Taylor, Claire Windsor Aileen Pringle, the comedy duo of Karl Dane (with his arm in a sling) and George K. Arthur (pretending he's stealing the silverware), Leatrice Joy (amused by Arthur's antics), Renee Adoree, Rod (eating and smoking) La Rocque, Mae Murray, John (in a robe) Gilbert (who also appears driving through the MGM gates early in the picture), Norma (eeeww!) Talmadge (looking bitchy and aloof as usual) and Patricia dressed like Marie Antoinette, sandwiched between Douglas Fairbanks (as he does an amusing trick) and William S. Hart (protecting her from Doug). Billy runs into the High Art crew on location when the comedy troupe disrupts their filming, with predictably nutty results. Vidor even works himself into the final scene as the director of Peggy's current production. Also worth noting are Harry Gribbon as the comedy director doing a great caricature of Eddie Sedgwick, Sidney Bracy as the dramatic director who can't get Peggy to cry for her screen test and then can't stop her once she does, and Paul Ralli as Andre, her dramatic love interest and a hilarious phony. When her character tries to 'act' its as though Davies is poking fun at all the awful dramas she'd been forced into and she's brilliant doing it.

While it's true Show People is a hokey satire of the 'good ole days' ten years hence, it remains a highly entertaining example of quality work from MGM, Irving Thalberg, and their tremendous wealth of assembled talent. What a shame so much has been lost. There are also far too many examples of great films like The Patsy (1928), Vidor and Davies' hugely successful comedy from earlier that same year, languishing in vaults when they could be seen and enjoyed.
....
output answer:
positive