input question: Select the correct sentiment of the following review: A young scientist is trying to carry on his dead father's work on limb regeneration.His overbearing mother has convinced him that he murdered his own father and is monitoring his progress for her own evil purposes.A young doctor uses reptilian DNA he extracts from a large creature and when his arm is conveniently ripped off a few minutes later,he injects himself with his formula and grows a new murderous arm...Admittedly the special effects in "Severed Ties" are pretty good and grotesque,but the rest of the film is awful.The severed arm is behaving like a snake and kills few people.Big deal.The acting is mediocre and the climax is silly.3 out of 10.
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output answer: negative

input question: Select the correct sentiment of the following review: I am uncertain what to make of this misshapen 2007 dramedy. Attempting to be a new millennium cross-hybrid between On Golden Pond and The Prince of Tides, this film ends up being an erratic mess shifting so mercurially between comedy and melodrama that the emotional pitch always seems off. The main problem seems to be the irreconcilable difference between Garry Marshall's sentimental direction and Mark Andrus' dark, rather confusing screenplay. The story focuses on the unraveling relationship between mother Lilly and daughter Rachel, who have driven all the way from San Francisco to small-town Hull, Idaho where grandmother Georgia lives. The idea is for Lilly to leave Rachel for the summer under Georgia's taskmaster jurisdiction replete with her draconian rules since the young 17-year old has become an incorrigible hellion.

The set-up is clear enough, but the characters are made to shift quickly and often inexplicably between sympathetic and shrill to fit the contrived contours of the storyline. It veers haphazardly through issues of alcoholism, child molestation and dysfunctional families until it settles into its pat resolution. The three actresses at the center redeem some of the dramatic convolutions but to varying degrees. Probably due to her off-screen reputation and her scratchy smoker's voice, Lindsay Lohan makes Rachel's promiscuity and manipulative tactics palpable, although she becomes less credible as her character reveals the psychological wounds that give a reason for her hedonistic behavior. Felicity Huffman is forced to play Lilly on two strident notes - as a petulant, resentful daughter to a mother who never got close to her and as an angry, alcoholic mother who starts to recognize her own accountability in her daughter's state of mind. She does what she can with the role on both fronts, but her efforts never add up to a flesh-and-blood human being.

At close to seventy, Jane Fonda looks great, even as weather-beaten as she is here, and has the star presence to get away with the cartoon-like dimensions of the flinty Georgia. The problem I have with Fonda's casting is that the legendary actress deserves far more than a series of one-liners and maternal stares. Between this and 2005's execrable Monster-in-Law, it does make one wonder if her best work is behind her. It should come as no surprise that the actresses' male counterparts are completely overshadowed. Garrett Hedlund looks a little too surfer-dude as the naive Harlan, a devout Mormon whose sudden love for Rachel could delay his two-year missionary stint. Cary Elwes plays on a familiar suspicious note as Lilly's husband, an unfortunate case where predictable casting appears to telegraph the movie's ending.

There is also the omnipresent Dermot Mulroney in the morose triple-play role of the wounded widower, Lilly's former flame and Rachel's new boss as town veterinarian Dr. Simon Ward. Laurie Metcalf has a barely-there role as Simon's sister Paula, while Marshall regular Hector Elizondo and songsmith Paul Williams show up in cameos. Some of Andrus' dialogue is plain awful and the wavering seriocomic tone never settles on anything that feels right. There are several small extras with the 2007 DVD, none all too exciting. Marshall provides a commentary track that has plenty of his trademark laconic humor. There are several deleted scenes, including three variations on the ending, and a gag reel. A seven-minute making-of featurette is included, as well as the original theatrical trailer, a six-minute short spotlighting the three actresses and a five-minute tribute to Marshall.
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output answer: negative

input question: Select the correct sentiment of the following review: Spoilers.....

I saw the original on TV sometime ago and remembered this production as less gripping than most Beeb costume drama. I rewatched on DVD this week and still have the same impression of it. It's a good story at first, but weakens when the heroine becomes oh so terribly brave and noble and returns to her utterly vile husband when he's ill and I got so totally irritated with her saintliness. I suppose this was the "right thing to do" when the story was written as well as contributing plenty of angst, and it was difficult for a woman to be independent of her husband as marriage made her no more than his possession, let alone to carry on scandalously with a lover as I expect a lot of the modern audience would have liked to see. But it's hard to take the santimoniousness nowadays and especially when this heroine had a strong, brave admirer ready to defend her against anyone and everyone. So re the story as in the film I'm equivocal. It's well done as per the novel, but somewhat irritating as per today's kind of life.

Steadfast hero Gilbert was certainly a saint to put up with his ladylove's variable and often cryptic behaviour and persistent self-denial and to be so consistently supportive. So I felt it a great shame that when Helen was at long last free to be with him, the script didn't allow him a bit more than about one minute to fall on each other for a quick hug before the titles came up. This was completely ridiculous when we'd been waiting all this time through all that dripping sentiment over the undeserving husband for a decent bit of dialogue and a good embrace between hero and heroine. Instead, the ending was as though the film makers had run out of time or finance or just couldn't be bothered. "Here you are - one minute, do what you can in that, then cut as the director wants to go home now....." I was left feeling totally dissasatisfied.

However, very high commendations to the acting of Toby Stephens a perfect and very handsome hero, and Rupert Graves a superbly nasty and self-pitying villain. Tara Fitzgerald was satisfactory within the confines of the script that forced her to be a depressing and rather sanctimonious victim so much of the time.

That said, I love these classic dramas and virtually all of them are a sight better than much of the "modern" drama on TV these days. So 7 stars because in spite of the irritations it's still a good watch.
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output answer:
positive