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: i wish i could have been in the pitch meeting for this ridiculous notion of a sports film .
i bet it was some hotshot warner brothers agent with an dark armani suit and manicured fingernails saying , " it would be a very light comedic version of any given sunday , and we could throw in the hoosiers angle with the casting of gene hackman as the tough but determined coach .
throw in that hunk of a guy keanu reeves and a cast of wacky characters and poof !
we 'll have a hit on our hands !
" the replacements is a hokey mistake of a football film , a mishmash collage of one - dimensional characters , rampant stereotypes of cultures and races , cliched emotional statements of purpose , and keanu reeves wishing for the matrix sequel to start principal photography .
the story is loosely based around the pro football players ' strike in 1987 and a rag - tag team of replacement football players taking up the reins of professional play for a variety of teams with names like the washington sentinels .
keanu reeves stars as shane falco , a has - been football college player looking for redemption .
gene hackman dons a fedora like tom landry and speaks with gusto like a certain coach in hoosiers .
rounding out the cast includes swingers ' jon favreau , 7-up pitchman orlando jones , gruff owner jack warden , and cast of wacky and unknown actors who do amazing jobs of portraying perfectly stereotyped characters : the drunken welshman , the overweight sumo wrestler , the black convict , the violent cop , and the dumb , dumb cheerleaders .
this bunch of nobodies try to make something of themselves by taking the team to the season playoffs with unbelievable football plays , gene hackman yelling and asking himself where the hell dennis hopper is , keanu reeves looking for his body double making him look good on the football field , and cheerleaders hired from the local strip club making the girls from coyote ugly look like waitresses from denny 's .
the usual things happen like clockwork .
the hero rises from the ashes of failure , the team comes together in unity , the hero falls in love with a conventional love interest , the football games are won with enough schlock value to make the most ignorant of audiences cheer and clap , and the cheerleaders make you want to go home and watch late night movies on cinemax .
it 's also a shame when decent directors with good movies under their belts go to seed and become television and sequel hacks .
howard deutch , who was behind the camera for two of the best films of ' 80s - pretty in pink and some kind of wonderful , has since been doing grumpier old men and caroline in the city episodes .
obviously the problem is that without a good script , any director will fail in the end .
sports films are strong vehicles for cinematic glory , gritty tales involving the honor of men and the valiant efforts taken for the ultimate goal of victory in the face of insurmountable odds , the rise and fall of gallant heroes , and stories of dramatic gusto painted with blood and sweat on the battlefield of life .
the replacements offers none of this .

Answer: N

Question: capsule : earthy , experimental , difficult , shockingly frank ( even for 1997 ! ) , and ultimately refreshing story of a black man on the run from the cops .
the first few minutes of sweet sweetback 's baad asssss song ( yes , i checked --
that 's the correct number of ss )
are without dialogue , just eerie montages of sounds .
a young boy , obviously malnourished , is taken in and fed up by several loving mother - surrogate figures .
then one of them takes the boy to bed for a sexual initation ( underneath the title credits ) that 's far more confrontatory and shocking than any ten basic instincts -- probably because it has the directness and clumsiness of real life , something we 're not used to seeing on screen .
this is one tough movie to swallow , no matter who you are , but that probably reflects more on how pallid and unchallenging movies have gotten lately .
( i suspect the sex scenes in movies like el topo and salo would probably melt the synapses of most modern audiences . )
the plot is simple but not simpleminded .
sweetback , hassled by two white cops who are apparently just looking for an excuse to beat up on a black man , breaks his bonds and runs like hell .
along the way he moves through a good many of the kinds of environments that we are only just now being seen in a more serious light in the movies -- or at all , for that matter : the slums , the missions , the ghetto .
in other , lesser , movies , sweetback would be machine - gunning everything in sight and the end credits would roll over a pile of bodies ; in this one , we get taken on a kind of a tour of the depressing and anarchic world that sweetback takes for granted .
ssbas first appeared in 1971 and was promptly rated x ( " by an all - white jury " , as director melvin van peebles crowed in his legendary ad campaigns ) , and it 's hardly surprising why .
there 's a good deal of sex in the movie , but it 's handled in a way that 's unsettlingly frank -- a frankness that spills over into the rest of the movie .
in one scene , sweetback visits a friend 's house in the hope of getting sanctuary there , and the other man chats him up while on the toilet .
we 're not used to coming this close to people in real life , let alone in the movies -- especially not people who are not made out to be glamorous .
the movie is also full of experimental stylistics that are relatively unused today , but probably because of that seem curiously fresh and new in van peebles ' hands .
one scene , in which a man is interrogated by the cops , is loaded full of menacing energy as they fire off a gun inches from his ears , and suggest his deafness through a cleverly edited soundtrack .
another note : ssbas is not so much anti - white ( that would be too easy ) as anti - authority , and as the movie goes on to demonstrate , authority exists in many forms -- governments , churches , and even the paranoid inside of one 's own mind .
ssbas is ultimately about thirsting for freedom -- and it looks like we could use a little more of that in our movie diet , god knows .

Answer: P

Question: call 911 for the cliche police if you must , but the eyes are the window to the soul .
the finest actors working in films are those who can command the screen with a gaze : paul newman , ralph fiennes , anthony hopkins , morgan freeman .
you look at these men on screen and you can tell without them saying a word that there is something going on in their minds , that the characters they play are real human beings .
we will never have a chance to discover if tupac shakur could have been a great actor , but he had that unique quality in his eyes .
in gridlock'd , an oddly effective combination of gritty drama and social satire , shakur and his co - star tim roth take sketchy characters and make them exciting to watch through the pure energy of their talent and chemistry .
shakur and roth play ezekiel " spoon " whitmore and alexander " stretch " rome , two detroit buddies who share a spoken word / jazz trio , an apartment and a drug addiction with cookie ( thandie newton ) .
when a new year 's eve party ends with cookie comatose after a drug overdose , spoon and stretch begin to wonder if they are living on borrowed time .
they soon make a new year 's resolution to get into rehab , but that proves to be easier said than done .
as though the temptation to fix were not hindrance enough , spoon and stretch also find their attempts to get clean hitting a road block of bureaucracy , confusion and red tape .
the government might be the least of their obstacles , however , as they find themselves suspects in the murder of a drug dealer , and on the run from a nasty thug ( vondie curtis hall ) .
in order for you to buy into gridlock'd at all , you have to accept it as a surreal odyssey rather than as urban realism ; unless spoon and stretch sleep through an entire day at the hospital after bringing in cookie , they are going to government offices on new year 's day , in which case they should be thankful they get any help at all .
gridlock'd may actually be a response to the fatuous social commentary of another urban odyssey ,
1991 's falling down , which found a besieged middle class white male venting his righteous anger against the system during a trek through inner city los angeles .
in falling down , michael douglas ' d - fens ( the character 's personalized license plate , echoed in gridlock'd by the drug lord d - reper 's plates ) whips out a gun because he ca n't get breakfast at mcdonald 's ; in gridlock'd , spoon and stretch are unarmed against the demands placed on them before they can get into a rehab center .
and where the unhinged d - fens became a heroic surrogate for audiences , writer / director vondie curtis hall refuses to let spoon and stretch off the hook for their own part in the situation .
one bureaucrat responds to a tirade from stretch with the question , " do you expect the world to stop .
. .
just because you picked _ today _ to clean up ?
" the world in gridlock'd is just as frustrating as the world in falling down , but the cathartic moments yield no easy answers this time .
hall has some interesting things to say about what we expect from the system , but perhaps not enough of them .
a significant chunk of gridlock'd is devoted to spoon and stretch 's flight from d - reper and from the police , and those sub - plots serve up some thoroughly predictable moments .
in one scene , stretch scares off d - reper by getting chummy with a police officer ; another presents that old chestnut of the two mistakenly - suspected heroes in a public place watching a television news report of the crime which shows their pictures .
the entire sequence of events seems designed merely as an excuse to get spoon and stretch running , while the other primary plot has them standing in line or sitting down much of the time .
hall also plays with gratuitous inserts of drug paraphernalia and flashbacks to the day before the film 's main events , perhaps making a particular effort to point out the talent the characters are wasting through self - destructive behavior .
oh , the irony of it .
tupac shakur made a career in music and movies playing the hard case , and living the life to back it up .
in gridlock'd , shakur gets the chance to play someone who has seen enough of the way his life could go to know that it scares him .
spoon is an idea for a character at best as written by hall , but shakur displays an intelligence and survival instinct which struggle with his addiction .
mostly it comes through those eyes , eyes with none of the hardness you might expect from the infamous gangsta .
it is spoon who plays conscience to stretch 's pure appetite , and roth plays stretch with a gleeful self - destructiveness ( he reveals that he is hiv positive even as he is preparing to shoot up again ) which is as much an obstacle to spoon 's goal as any agency or enemy .
gridlock'd 's most cruelly comic scene finds stretch " helping " spoon get into an emergency room by repeatedly stabbing him with a tiny pocket knife , and it becomes an appropriate symbol for how the company he keeps has slowly drained the life out of him .
with friends like that , spoon does n't need enemies , and shakur looks at stretch with the tired eyes of a man who has seen too much .
the tragedy now is that we wo n't get more chances to see those eyes again .

Answer:
P