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

Let me give you an example: plot : two teen couples go to a church party , drink and then drive .
they get into an accident .
one of the guys dies , but his girlfriend continues to see him in her life , and has nightmares .
what 's the deal ?
watch the movie and " sorta " find out . . .
critique : a mind - fuck movie for the teen generation that touches on a very cool idea , but presents it in a very bad package .
which is what makes this review an even harder one to write , since i generally applaud films which attempt to break the mold , mess with your head and such ( lost highway & memento ) , but there are good and bad ways of making all types of films , and these folks just did n't snag this one correctly
.
they seem to have taken this pretty neat concept , but executed it terribly .
so what are the problems with the movie ?
well , its main problem is that it 's simply too jumbled
.
it starts off " normal " but then downshifts into this " fantasy " world in which you , as an audience member ,
have no idea what 's going on
.
there are dreams , there are characters coming back from the dead , there are others who look like the dead , there are strange apparitions , there are disappearances , there are a looooot of chase scenes , there are tons of weird things that happen , and most of it is simply not explained .
now i personally do n't mind trying to unravel a film every now and then , but when all it does is give me the same clue over and over again , i get kind of fed up after a while , which is this film 's biggest problem .
it 's obviously got this big secret to hide , but it seems to want to hide it completely until its final five minutes .
and do they make things entertaining , thrilling or even engaging , in the meantime ?
not really .
the sad part is that the arrow and i both dig on flicks like this , so we actually figured most of it out by the half - way point , so all of the strangeness after that did start to make a little bit of sense , but it still did n't the make the film all that more entertaining .
i guess the bottom line with movies like this is that you should always make sure that the audience is " into it " even before they are given the secret password to enter your world of understanding .
i mean , showing melissa sagemiller running away from visions for about 20 minutes throughout the movie is just plain lazy ! !
okay , we get it .
. .
there are people chasing her and we do n't know who they are .
do we really need to see it over and over again ?
how about giving us different scenes offering further insight into all of the strangeness going down in the movie ?
apparently , the studio took this film away from its director and chopped it up themselves , and it shows .
there might 've been a pretty decent teen mind - fuck movie in here somewhere , but i guess " the suits " decided that turning it into a music video with little edge , would make more sense .
the actors are pretty good for the most part , although wes bentley just seemed to be playing the exact same character that he did in american beauty , only in a new neighborhood .
but my biggest kudos go out to sagemiller , who holds her own throughout the entire film , and actually has you feeling her character 's unraveling .
overall , the film does n't stick
because it does n't entertain , it 's confusing , it rarely excites and
it feels pretty redundant for most of its runtime , despite a pretty cool ending and explanation to all of the craziness that came before it .
oh ,
and by the way , this is not a horror or teen slasher flick . . .
it 's just packaged to look that way because someone is apparently assuming that the genre is still hot with the kids .
it also wrapped production two years ago and has been sitting on the shelves ever since .
whatever . .
. skip it !
where 's joblo coming from ?
a nightmare of elm street 3 ( 7/10 ) - blair witch 2 ( 7/10 ) - the crow ( 9/10 ) - the crow : salvation ( 4/10 )
- lost highway ( 10/10 ) - memento ( 10/10 ) - the others ( 9/10 ) - stir of echoes ( 8/10 )
The answer to this example can be: N
Here is why: The phrases used in the review convey a negative sentiment (e.g. "presents it in a very bad package").

OK. solve this:
" with all that education , you should know what happiness is .
" starring sylvia chang , teresa hu , hsu ming , li lieh ,
mao hsueh - wei ; directed by edward yang ; written by yang and wu nien - chen ;
cinematography by christopher doyle and chang hui - kung every country has , eventually , its new wave .
france had its nouvelle vague , brazil its cinema novo , china its fifth generation , and on and on .
some waves just take longer than others , before they wash over us , cleansing us with the balm of discovery .
taiwan 's new wave came in the 1980s , in the work of directors like hou hsiao - hsien , wan jen , and edward yang ; that day , on the beach -- yang 's first feature -- is central .
it created a new language for young taiwanese directors , even if the first attempts to speak that language were hesitant and faltering .
later works refined the techniques that yang first explored here , giving taiwan a distinctive international presence .
that day itself is long and frustrating , the document of a nation 's attempt to find a voice .
it does not lack ambition .
it anatomizes urban life in modern taiwan , in the manner of antonioni , elaborating the alienation that the westernized white - collar middle - class feel as their lives are shaped by old - fashioned roles -- dedicated career men , loyal housewives -- that they find unfulfilling .
jia - li ( sylvia chang ) is the focus , but the film brings others into its compass -- her husband , her brother , friends from her college days -- as it charts her discontents .
no one is happy .
jia - li married her husband , we - lei , at a young age .
at the time , her brother had been urged into an arranged marriage , despite his affection for another woman , and so jia - li 's marriage seemed , in comparison , a good one : she chose we - lei of her own free will , they loved each other .
but it goes wrong .
that day dutifully presents all the clich ?
s :
we - lei becomes absorbed in his career , indulges in an affair with a co - worker ; jia - li feels restless and trapped , bound by a choice she made while young , but which no longer seems wise .
the film never redeems these clich ?
s
by conveying the feel of authentic experience , the intensity of lived pain , and much of it seems trite and belaboured .
it unfolds , awkwardly , as a series of flashbacks , told during a luncheon in vienna , where jia - li meets her brother 's old flame ( teresa hu ) , now a concert pianist , whom she has not seen since college .
both women seem rather sad , and resigned to their sadness .
their circumstances ( and those of jia - li 's brother and a college friend ) suggest not so much that they have made the wrong choices -- married the wrong man , chosen the wrong career path , etc .
--but rather that the choices available to them were inadequate .
it is not that jia - li married the wrong man ; she did n't .
the problem is that she needed to marry at all -- and that if she did not marry , she would still be just as unhappy .
for a woman in modern taiwan , that day tells us , the cards are stacked , the dice are loaded : she can play the game , but the house always wins .
the film 's sympathetic feminist implications are presumably the reason it caused such controversy upon its release in taiwan .
seen now , it does not seem provocative .
indeed , it 's hard to imagine anyone having felt passionate enough about the film to generate any controversy : it may be ambitious , it may be innovative , but it is also terribly , terribly dull .
and what was new for taiwan was not necessarily new for the rest of us : yang adopts methods established years before by antonioni and others , and his use of those methods is fumbling , uncertain , undisciplined . nor does he bring anything new -- other than the locale -- to the material .
there are moments when that day takes on some of the emotional richness it strives for -- in a young couple 's first kiss , in the awkward meeting of a woman and her husband 's mistress -- but they are brief .
too often , yang devotes needless time to mundane scenes -- grocery shopping , flower - arranging -- in which nothing happens , little is said , no emotion imparted .
perhaps , if the film were content to focus on such reflective , inward moments , leaving us to guess at thoughts and feelings , it might have been ambiguous , suggestive , insinuating .
but jia - li and her disaffected companions do not only brood in silence
: they talk about their problems , at length , in detail , redundantly , and eliminate all subtleties .
at two hours and forty - five minutes , it all seems exorbitantly long , indulgently long - winded . consider the defining moment for jia - li , the titular day on the beach .
the thrust of the whole film explains , easily enough , what we are to think of that moment , what it means when she walks away from a particular situation .
even so , the film has not one but two characters explain it for us verbally , in case we may have missed the point .
needless time is devoted to expressing what should have remained unexpressed , and that is the problem throughout .
the look of the film is as tedious as the drawn - out narrative .
it was the first feature shot by christopher doyle -- at least , it 's his name in the credits -- who is now rightly regarded as one of the world 's leading cinematographers .
in the freewheeling expressionism of his work with directors like chen kaige and wong kar - wai , he seems incapable of fashioning a boring image .
you would never know it from watching that day , which , due either to doyle 's inexperience or yang 's humdrum direction , is almost perverse in its insistence on making the physical environment seem as drab and banal as possible .
in scrutinizing the long decay of a marriage , that day manages to capture the ennui of the experience , but none of the damage , none of the heartbreak .
Answer:
N