In this task, you are given a review of movie. Your task is to classify given movie review into two categories: 1) positive, and 2) negative based on its content.

The larger-than-life figures of Wyatt Earp and Bat Masterson, and the specters of George Armstrong Custer and Sitting Bull, loom over director Anthony Mann's hugely entertaining first western with James Stewart. Although Stewart's quest to avenge his father's murder is the primary story, Winchester '73 is really an ensemble piece, with the eponymous, one-in-a-thousand firearm passing through the hands of many colorful owners, including a wry trader (John McIntire, especially great) and outlaw Dan Duryea, who's even more despicable than usual. The film's conflation of fiction and history produces a breezy pace and an ambivalent tone brilliantly in step with Mann's pared-down, compositionally rigorous film-making. His themes of psychological unrest and past dictating present faintly underlie this tall tale of good and bad men chasing after a fabled gun, but they starkly emerge in a vignette about a husband's cowardice and failed attempt at atonement, and are defined in Stewart's conversations with sidekick Millard Mitchell. Mann's use of environment is what sets him apart from other filmmakers of westerns. Instead of gazing at vistas from afar, he incorporates them into the drama as characters that redirect, complicate, or evoke the human characters' goals. Just as mountains, caves, and rapids had to be accounted for in The Naked Spur, here a gunfight occurs amidst the loose rocks and boulders of a small mountain, a physical obstruction that fatalistically determines the roles of victor and victim between two equally skilled sharpshooters. (I would be remiss in not recognizing cinematographer William H. Daniels's contribution, particularly his superlative day-for-night, open-range photography.) Not merely an adept outdoorsman, Mann presents an equally vivid picture of Wyatt Earp-patrolled Dodge City, primarily through scaled, multiple-plane staging. The shooting contest does not depend on brisk camera shifts or twitchy cuts for effect because Mann instinctively knows where to place the camera and how to move it to display the greatest density of information in a given shot. Nor does he care to spell out the plot in dialogue, relying on the actors' eyes or a well-chosen image to convey the stakes. One scene in particular serves to explain his attitude: Mitchell's telling of Stewart's motivation to Shelley Winters, which is interrupted by the climactic gunfight that soon enough reveals all. Light without feeling insubstantial, intense without being overbearing, Winchester '73 seems more modern than its contemporaries and is a joy to behold.
positive

I have no idea what the other reviewer is talking about- this was a wonderful movie, and created a sense of the era that feels like time travel. The characters are truly young, Mary is a strong match for Byron, Claire is juvenile and a tad annoying, Polidori is a convincing beaten-down sycophant... all are beautiful, curious, and decadent... not the frightening wrecks they are in Gothic.Gothic works as an independent piece of shock film, and I loved it for different reasons, but this works like a Merchant and Ivory film, and was from my readings the best capture of what the summer must have felt like. Romantic, yes, but completely rekindles my interest in the lives of Shelley and Byron every time I think about the film. One of my all-time favorites.
positive

A sad, sad sight indeed is The Munster's Revenge. The Munsters are brought back one last time(Fred Gywnne received a huge paycheck to come back to the role of Herman Munster)in this made-for-TV movie about a pair of wax replicas of Grandpa and Herman that are robots "terrorizing" the city as preparation for a robbery of a mummy's stash at an exhibit. With the police on their heels, the two elderly television icons try to find out who is actually behind the crimes in order to clear their names. We get to see them dress in drag as waitresses(a minor highpoint in the film), grandpa turns into a bat with attached wire a couple times(one time even flying to Transylvania with Herman somehow invoking his frequent flyer miles I guess), and a most annoying relative "the Phantom" constantly sings and breaks glass ad nausium! What is most sad is hard to pinpoint: is it that Gywnne(especially) and Al Lewis look so haggard in every scene and so indifferent to the material. Is it the hokey costumes of the robots that have that school production values look about them. Maybe it is the ridiculous script. Sid Caesar's crazy, mostly unfunny antics. Or perhaps it is seeing something which brought me joy and fond memories as a child being treated to a super K-Mart fashion makeover. At any even, the result is decidedly disappointing and silly even for Munster standards. As for the rest of the cast, Yvonne De Carlo is adequate in a most vacuous role(though showing more cleavage than usual for a woman of her years and experience). K. C. Martell makes an ever-so-not affable Eddie Munster. Jo McDonell is an attractive Marilyn. Bob Hastings as the aforementioned Phantom looks and acts and speaks in the most absurd manner. The film has a real cheap feel about it even for a made-for-TV movie.
negative