In this task, you are given product reviews about dvds. The goal is to classify the review as "POS" if the overall sentiment of the review is positive(the reviewer is satisfied) or as "NEG" if the overall sentiment of the review is negative(the reviewer is not satisfied).

[EX Q]: Jack's Best Work . I can't remember when I saw this one on the big screen. It was not long after Easy Rider and we had the idea that this Jack Nicholson had something to say to our 60's-70's counter-culture. He did have something to say with some of the sharpest acting I had ever seen. He out-classed the James Dean's and Marlon Brando's, but not with ease. Jack was workin' hard, switching from depressed concert pianist to hillbilly good time dude to misunderstood Romeo in five-minute intervals. No, make that changeable temperament every five seconds, truly an artistic milestone. Throw in an equally magnificent portrayal by Karen Black, sexy and hillbilly; Jessica Simpson, eat your heart out, and you have the couple of the year, 1970. Jack's father is one of those evil patriarch's that hurt their kids bad, pushing them to greatness without an ounce of love. Consequently, the siblings are brilliant and eccentric. The daughter is a frumpy dope. The older son is a violinist with a neck injury, and then there's handsome Jack, shiftless, moving from bed to bed, crossing the country, a boozing bum. Back in the Vietnam years there was an examination of bourgeois life. Did we have to get a job and get married? Was everyone in a particular cubbyhole, mail in the funeral? Hence, we had the counter-culture, drugs, long haired hippies, sexual openness, and shiftless lifestyles. Bob Rafelson's film gives you that, but mercifully, with subtly. That last scene at the gas station says it all. I think directors would be hard pressed to sum up a film's theme so effectively with so little noise - amazing.
[EX A]: POS

[EX Q]: EMMANUELLE IN AMERICA . THE DVD HAS A VERY POOR RECORDING,YOU CAN'T HEAR THE AUDIO BECAUSE IT CONTINUE TO BREAK AND THE PICTURE FREEZES . I HAVE A RETURN TAG FOR THE FRIST ONE THAT WASN'T PLAYING .I JUST WANT TO NOTIFIED YOU THAT I AM GOING TO RETURN BOTH DVD. I WILL SUGGEST THAT NEXT ONE WILL BE TESTED AND MAKE SURE IS PLAYING VERY WELL IN VIDEO AND AUDIO. THANK YOU.
[EX A]: NEG

[EX Q]: When things get hot, people get burned ... bet on it! . Based on the novel The Big Arm by Clark Howard with a screenplay by Robert Roy Pool, this drama directed by Ben Bolt feels like an adaptation of a large canvas novel with all the detail left in, so that everything reads as subsidiary. Set in the Chicago of the 1950's, Matt Dillon stars as a dice player from Indiana seeking the big time. However, when you're juggling at least 4 plots it's only natural that not all of them will come together for a satisfying conclusion. The most promising one concerns Dillon's Hustler-like competition with Tommy Lee Jones as the owner of a strip club, with Jones having the same spot between the eyebrows as Dillon. The problem with filming dice is that the actual game is monotonous, so the best Bolt could do is create tension by delaying the next roll or the raising of financial stakes, though he does provide an early montage of Dillon with David Marshall Grant on a winning spree and falling dice and money to the sounds of Shake, Rattle and Roll on the soundtrack. The only other visual trick is the sparks of an overhead train on it's tracks as Dillon and Diane Lane as Jones' stripper wife kiss to Fever. The best of the screenplay is a laugh line of sarcasm and forboding given to Meg Hogarth as Dillon's mother re his dice mentor's funeral "I nearly got crushed in the crowd", and Cherry Jones as a Patsy Cline-like singer who sneaks up behind Dillon, covering his eyes with a guess who? Dillon says her perfume gives her away and she replies " Aint nobody gonna give me away but my daddy". This use of eyes and the eyes of the dice are also parallel with Bruce Dern as the husband of Lee Grant, Dillon's employer. Dern is a former dice champ who has been blinded, but unfortunately this plot point gets no payoff. Dillon is also given two romantic partners in Lane and Suzy Amis as a mother of a child out of wedlock. The madonna/whore dichotomy is rather obvious, and the symbolism worse, with Amis' child scoring points for her and the way Lane is presented so unflatteringly scores points against her. Lane's fan dance doesn't help, since the focus on the scen is more Dillon's twisted attraction/repulsion. The 1950's period works for Dillon's razor etched beauty, the perfect locale for his photographer Bruce Weber appeal, and he even gives a Method touch to the way he hits his own face with a restaurant menu. Watch for Lolita Davidovich as another of Jones' strip club entertainers
[EX A]:
NEG