In this task, you must classify if a given review is positive/negative, indicating your answer as P or N.

Ex Input:
before even seeing a single frame of the film , it would be easy to snicker at deep impact , in which a comet on a collision course with earth threatens the existence of all life on the planet .
it is the latest entry in this decade 's dubious revival of the ' 70s disaster film , and the first of two " the sky is falling " flicks to hit screens this year ( the other being this coming july 's armageddon , in which a meteor is the threat ) .
its tagline , " oceans rise .
cities fall .
hope survives " is not as cornball as that of the utterly ridiculous collapsing tunnel thriller daylight ( " they came in alone . . .
the only way out .
.
. is together " ) , but it 's every bit as treacly .
the opening moments of deep impact offer more to snicker at .
the cheesiness is not confined to the disaster movie conventions , such as the usual opening " roll call , " in which all the major characters and their personal problems are introduced .
the most prominent of the " personal " stories is that of ambitious tv news reporter jenny lerner ( tea leoni ) , who is distraught that her father ( maximilian schell ) left her mother ( vanessa redgrave ) for a younger woman ( rya kihlstedt ) .
what is just as snicker - worthy is how this co - venture between paramount and dreamworks skg aggressively pushes another high - profile corporate collaboration , microsoft and nbc 's cable news network msnbc , which employs jenny , who is the film 's ostensible main character .
in the vision of america presented here , msnbc is the television news source of choice in every home , when in reality it only reaches a fraction of the country .
the initial signs point toward something along the lines of a volcano or dante 's peak , but there 's one thing about deep impact i underestimated : the skills of director mimi leder .
she won an emmy for her helming work on nbc 's smash er , which is essentially a weekly disaster movie , each episode featuring a new set of guest stars with their own personal and medical crises .
the challenge presented by this format to the director is twofold : ( 1 ) to make the audience care for these guest characters , regardless of how briefly seen or thinly written they are , and ( 2 ) powerfully tug at the emotions without being heavy - handed or overly melodramatic .
having passed the " er challenge " in numerous episodes and showed a flair for creating suspense in the peacemaker , leder could not be a better fit to bring michael tolkin and bruce joel rubin 's rather formulaic disaster screenplay to screen .
as the countdown to impact progresses , the ominous feeling of doom is palpable , leading the final act to take on a surprisingly convincing and affecting emotional dimension .
there 's nothing here that will profoundly move anyone , but the fact that anything manages to touch the heart is high achievement in a genre generally more concerned with effects .
situations that initially feel contrived , such as jenny 's familial crisis and the teenage romance between sarah hotchner ( leelee sobieski ) and comet discoverer leo biederman ( elijah wood ) , achieve some poignance ; and even the more vaguely drawn characters , including u . s .
president tom beck ( morgan freeman ) , astronaut spurgeon " fish " tanner ( robert duvall ) , and his rather faceless crew ( ron eldard , jon favreau , mary mccormack , blair underwood , and alexander baluyev ) aboard the comet - bombing spacecraft messiah , have their share of touching moments .
the latter fact owes a debt to the actors , who all do a solid job and are well - cast , with the possible exception of leoni ; she delivers a decent performance , but her trademark unconventional speech rhythms and line delivery make her somewhat hard to buy as a star news broadcaster .
although its catastrophic theme and impressive special effects work
( the giant ocean waves are particularly spectacular ) place deep impact in the same category as the likes of twister , it is the first of the ' 90s disaster films to successfully marry the advanced film technology with emotions that ring true -- a film that makes a genuine impact , even if it is n't as deep as hoped .

Ex Output:
P

Ex Input:
if he does n't watch out , mel gibson is in danger of being known as someone other than mad max .
of course there are still a few big guns in this film , but there 's some accomplished acting too .
although gibson continues to shed his rough and gritty anti - hero skin as his career progresses , here he explores a new genre : the businessman as action hero .
in ron howard 's latest film , gibson plays tom mullen , a gazillionaire airline owner whose son is snatched from the junior science fair by kidnappers .
mullen at first agrees to pay the ransom , but when things fall apart he rethinks the situation .
a veteran of numerous hard - nosed business negotiations , the tycoon realizes that in order to get his son back alive , he has to play his hand differently .
the casting is what puts this film over the top .
the trio of gibson , the kidnappers ' mastermind ( gary sinise ) and fbi team leader ( delroy lindo ) play off of each other wonderfully .
sinise is perfect as the driven scheming sleezebag is right on the mark .
his speech to mullen over a walkie talkie about h .
g .
wells ' morlocks and eloi reveal his vision of society .
mullen and the other glitteratti frolic up on high while sinise and the other lowlifes
dwell below , feeding off the unsuspecting .
gibson 's character is an all - american hero with a few flaws .
his cowboy tactics tend to work , but they are also what got him into this situation to begin with .
in a round about way , if he were n't known as a man who is willing to buy his way out of trouble , his son would n't have been kidnapped .
as sinise says " you 're a payer .
you did it once
and now you 're going to do it again .
" one of the nicest elements of this film is that most of the characters actually have personalities .
lindo calls home to talk to his kids , obviously shaken at working this case .
even the kidnappers are real people , arguing about the ultimate fate of sean mullen and feeding him candy bars .
gibson 's break - down on the balcony of their penthouse apartment is especially effective .
it 's one of the best filmed representations of a man 's world falling apart that i 've seen
.
it 's not all perfect .
the shoot 'em upending , while emotionally satisfying seems tacked on to be just that rather than to provide a powerful resolution .
as well crafted as the scene is , we 've seen it before .
mullen 's wife ( rene russo ) has several good moments , but occasionally just seems to be there .
while adequate , brawley nolte ( sean ) does n't provide much to the film other than occupying space to build the story around .
but you 'll ignore these problems as each minute of the movie builds on the previous one .
forget about the large coke , you wo n't want to leave for that five minute break an hour later .

Ex Output:
P

Ex Input:
for better or worse , the appearance of basic instinct in the movie marketplace gave the greenlight to a whole slew of overheated , oversexed , underwritten thrillers .
apparently not having joe eszterhas as the writer does n't change a thing , since body of evidence was n't written by him , but has a puzzling eszterhas - ish presence all over it .
in other words , it 's a ) really dirty and b )
really , really stupid .
madonna ( first warning sign ) stars in body of evidence as a woman who has piles of money and no apparent job
; she lives on a houseboat and likes to parade around semi - naked , presumably for the edification of the shrimp .
she 's been accused of having murdered an older man who was her lover .
already two classic examples of hollywood sexism are in effect -- the first being that any woman in a movie can not be sexual unless she 's under thirty ( or at least looks it ) , and that they usually only exist for the sake of studs or filthy rich older men .
what 's worse is that the movie confirms all the above , and wallows in them as well .
madonna 's character is accused of forcing sex on the old goat when she knew darned well he had a heart condition .
( and yes , there are the obligatory cracks from the cops about how at least he died happy .
this movie leave no scummy stone unturned . )
anyway .
willem dafoe ( very good but completely wasted ) also stars as the lawyer who is doomed to run afoul of madonna 's sexuality .
how do we know this ?
because his character is set up with the token wife and kids .
how obvious is it that he 's gon na cheat on her and have to fess everything up ?
and get kicked out of the house ?
and get welcomed back anyway ?
do n't skip to the end yet
; we 're just getting warmed up .
dafoe and madonna have a lot of sex in this movie .
most of it is about as erotic as open - heart surgery , since it involves such goodies as hot candlewax ( always the kink of choice among screenwriters who do n't know the first thing about * really * kinky sex ) and smashed light bulbs .
do n't ask .
another thing that people are starting to realize about explicit sex in movies is that unless it is critically important to the story , it 's insanely dull .
what 's worse is that body of evidence is dull * everywhere
* , not just in the sex scenes .
the stuff in the courtroom is recycled ninth - hand from other bad courtroom drama scenes .
the thriller business itself is ridiculous
-- it involves nasal spray bottles and drugs , and juergen prochnow as a surly doctor .
and the ending -- another homage to eszterhas , maybe ?
-- is one of those endings where you can almost see the exact * frame * where one of the five or six various endings to this mess was spliced in .
the director is uli edel , all the more disappointing since he also directed the elegiac and powerful last exit to brooklyn and christiane f .
everyone has to eat , i guess , but this is n't a meal ticket ,
it 's leftovers .

Ex Output:
N