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

Ex Input:
at the outset of swordfish , john travolta 's gabriel shear is pontificating about the status of american cinema today .
basically , he says , it boils down to a lack of imagination among the majority of writers .
how ironic , as travolta seems to be describing his latest venture .
swordfish is loud , violent and amoral .
it has the audacity to justify murder and mayhem in the name of sustaining our way of life .
and how does travolta 's gabriel plan to do this ?
by robbing billions from his own government and using the funds to out - terrorize terrorists .
swordfish is a very cynical movie .
it relies on an audience 's perception of our leaders as ineffectual and duplicitous and on terrorists as non - human , faceless entities not worthy of compassion or consideration .
the movie 's plot is preposterous with enough illogical leaps that if the film ever slowed down , you 'd actually see how ridiculous it all is
.
this is a live - action road runner cartoon , moving so quickly that it 's over before you can catch your breath to ask any reasonable questions .
the storyline revolves around super hacker stanley jobson ( hugh jackman ) , recruited by gabriel to crack the government 's computer codes so gabriel can gather billions for his anti - terrorist campaign .
talk about whacked - out patriotism .
my objections to swordfish are many .
the body count is high , but that is expected in a movie of this sort .
it 's becoming a bore watching anonymous soldiers , police officers and government agents blown to bits .
another example is the family dynamics between stanley , his 10-year - old daughter and his ex - wife .
stanley , though having served time in prison for hacking , is shown as a loving and caring father , forbidden by his ex to see his little girl .
audience animosity is immediately created for his former spouse by showing her as a drinker and smoker who also sometimes stars in her new husband 's adult films .
thus when she is found murdered late in the movie , neither stanley nor his daughter are allowed any time to grieve .
in fact , subconsciously , many in the audience are probably glad she was killed .
then there is the sequence involving one of gabriel 's henchman holding a gun to the head of stanley 's daughter to coerce the hacker to download the key computer program for gabriel .
children as pawns have become a most unwelcome clich ?
in recent films .
there is enough violence in the real world involving children without having to make them on - screen victims as well .
yea
, it 's only make believe , but that does n't mean you have to tolerate it
.
travolta is cool , deadly charming and flamboyant as the near - crazy gabriel .
his character is reminiscent of his villainous characterizations in broken arrow and face / off .
jackman looks dour through most of the proceedings .
his only moment of any depth comes when he finally is able to create the worm to get inside the government database .
his sense of joy and accomplishment is one any computer whiz can appreciate .
halle berry is decorative and lovely as gabriel 's assistant , while don cheadle is given little to do as the head fbi agent hunting gabriel .
swordfish plays like a comic book with a larger - than - life character in gabriel .
viewers align themselves with him despite their uncertainty if he is hero or villain .
and maybe that is the movie 's underlying flaw : there is no real hero to speak of , only those doing their upmost to survive .
and that is not enough .
this is one swordfish that should have been thrown back in the water .

Ex Output:
N

Ex Input:
stars : armand assante ( mike hammer ) , barbara carrera ( dr . charlotte bennett ) , laurene landon ( velda ) , alan king ( charles kalecki ) , geoffrey lewis ( joe butler ) , paul sorvino ( detective pat chambers ) , judson scott ( charles hendricks ) , barry snider ( romero ) , julia barr ( norma childs ) / mpaa rating :
r / review : in the 1982 updating of mickey spillane 's 1947 novel " i , the jury , " hard - boiled detective mike hammer is a vietnam vet who drives a shiny bronze trans am , dresses like don johnson in " miami vice " with less pastels , and has sworn off alcohol .
however , he still smokes his lucky strikes , detests all forms of authority , and kills at a whim .
beyond that , the updated film retains little or no resemblance to the original pulpy page - turner by spillane , probably the most infamous and often reviled of all mystery writers .
the movie starts off with a bang : a howler of an opening credits sequence that is a cheap steal from the james bond series , complete with cheesy graphics and an overbearing jazz score by bill conti ( " rocky " ) .
after that , the movie and the book begin the same , with the murder of jack williams ( frederick downs ) , a one - armed detective and hammer 's best friend .
hammer declares that he will seek vengeance for jack 's death , and with the help of his devoted secretary , the blond and shapely velda ( laurene landon ) , and the alternately friendly / antagonistic police chief pat chambers ( paul sorvino ) , he is immediately on the killer 's trail .
here the movie splits completely from the book , and dives into a convoluted and improbable tale of government conspiracy and mind control tactics involving the mafia , the cia , one of hammer 's vietnam vet buddies , and a kinky sex clinic .
many of the same characters from the book appear in the movie , but they take on slightly different roles .
for instance , charles kalecki ( alan king ) , a numbers runner and narcotics dealer in the book , turns into a suave mob boss .
and , more importantly , hammer 's suspicious love interest , charlotte bennett ( barbara carrera ) , morphs from a run - of - the - mill psychiatrist into the coordinator and founder of the sex clinic .
"
i , the jury " is one of several cinematic renditions of spillane 's books ( including a 1953 version which was made in 3-d ) , but this film differs from those earlier versions in one major way :
it includes all of the sex and violence spillane wrote about that could never be given screen treatment due to hollywood 's production code .
although this takes the 1982 version of " i , the jury " closer to the core of the original subject matter , it is in this aspect that the film received the most criticism , because it took this new license to extremes that many argued surpassed what was in the book .
rest assured , the movie not only includes a great deal of nudity , but it is thoroughly violent , especially toward women .
it features one woman having her neck slashed , a set of twins forced to strip before being stabbed to death by a psychotic sexual deviant programmed by the cia ( judson scott ) , and another woman shot point - blank in the belly by hammer himself .
no one would deny that spillane 's writing has a definite misogynistic nature , but the movie seems to take it a step further by giving it such glorious screen treatment ; its constant equation of sex and violence , much of which is played with the intention of being erotic , is quite unsettling .
it 's no surprise that the movie , like the book , fades to black with a dead woman on the floor .
"
i , the jury " had a troubled production and was not well - supported by the studio that made it , which is one explanation why it did n't do well in theaters and many people have forgotten that it was ever made .
the script was written by larry cohen , who is best known for his creatively cheesy but nonetheless effective monster movies , like " it 's alive " ( 1974 ) and its two sequels , " q " ( 1981 ) , and " the stuff " ( 1985 ) .
cohen wrote the script thinking he was going to helm the project as well , but he was yanked from the director 's chair after only a week 's worth of shooting because he was already $ 100 , 000 over budget .
he was quickly replaced by richard t. heffron , who has worked for the last three decades on a handful of undistinguished movies and dozens of television projects .
heffron was obviously brought in not for his talent , but because he could make the movie rapidly and efficiently .
it shows in the final product .
cohen had personal interest in the updated version of hammer , but heffron has none .
he shot the movie quickly and clumsily , and although some scenes ring true , most of them are flat , trite , and invariably dull .
the movie features numerous car chases , shoot - outs , and stunts , but heffron 's background in television is the dominant tone ; despite the graphic violence and full - frontal nudity , " i , the jury , " takes on the air of a made - for - tv quickie , with no real punch or depth . but the problems in " i , the jury " run deeper than the technical .
the central fault in this updating is mike hammer , whose character was lost in the shuffle while updating from the fifties to the eighties .
because spillane wrote all his hammer mysteries in the first person , hammer 's character is central to the tale because all the events are filtered through his persona .
we never really get that impression in the movie -- there is no first - person voice - over narration and some scenes do n't have hammer in them at all .
consequently , a great deal of the texture of spillane 's storytelling is lost .
the period updating turns out to be a detrimentally bad idea because much of hammer 's moral code is thrown to the wind .
despite his characterization as a hard - nosed , violent , misogynistic killer , hammer always stuck fervently to his own moral code .
the title itself , " i , the jury , " refers to his anti - establishment notion of being his own law .
unlike private eyes who seek out the bad guys and then turn them over the police
, hammer both pursues the criminal and exacts the punishment .
in this way , he can be seen as " above the law , " but he still adheres strictly to her own personal code of conduct , his own morality .
the movie forgoes that aspect of his character , and hammer comes off not only as amoral in society 's terms , but in any terms , especially his own .
if anything , hammer always had his professionalism , but the movie does away with that in the first three minutes by showing him rolling in the sack with the wife of a client who had paid him to find out if that wife was being unfaithful .
maybe the scene was intended for laughs , but it only cheapens hammer 's character and is , by all accounts , a lousy way to start the movie .
the blame for hammer 's character ca n't be laid on assante 's shoulders , because despite some unnecessary marlon brandon - like mumbling , he delivers a fine performance .
spillane never once described hammer 's physical attributes in any
of the dozen books in which he appeared
, so any actor could conceivably portray him .
of course , because of the lack of written description , those who have read spillane 's books will have a strong personal notion of what hammer looks like , and therefore almost any screen incarnation will somehow fall short of expectations ( spillane , who played the character himself in 1963 's
" the girl hunters , " is generally considered the best of the film hammers ) .
the rest of actors are most un - noteworthy .
with the exceptions of alan king and paul sorvino , everyone who appeared in " i , the jury " were up - and - comers who basically went nowhere .
many of them ended up working in television ( like carrera , who had a short stint on " dallas " in the mid - eighties ) , which only adds to the made - for - tv atmosphere of the film .
maybe someday , someone will manage to get the right elements together and make an effective film rendition of a spillane book , but this is certainly not it .

Ex Output:
N

Ex Input:
written by john grisham and robert altman ( as al hayes ) directed by robert altman some time ago , a young director was given the opportunity to direct the screen version of a popular novel .
the novel was a summer smash , topping best - seller lists across the country and already drawing speculation as to which popular actors of the day might play the leads .
the only problem : the novel was n't very good .
it was far more pulp than pulitzer .
but the director realized that , no matter how pedestrian the prose , this book really grabbed people - that the author , while not a great writer , was a fantastic storyteller .
so he took on the project , convinced he could make something happen on screen .
the director ?
francis ford coppola .
the book , of course , was mario puzo 's the godfather .
the rest , as they say in showbiz , was history .
by bringing up the godfather , i do n't mean to suggest that robert altman 's the gingerbread man is destined for that level of greatness .
but the parallel does suggest that it is possible to create great cinema from questionable source material .
can you get any more questionable than john grisham ?
depends on whom you ask .
but there 's no question that grisham 's work grabs people .
like puzo , grisham is a better storyteller than a writer - unlike fellow hack michael crichton , who is a good idea man but who ca n't tell a well - constructed story from a can of spam .
so something in grisham 's unpublished story of a cocky savannah lawyer who gets involved in a deadly family squabble drew the attention of robert altman , who at 73 years old remains one of america 's greatest living filmmakers .
the result is a gripping thriller that , while falling short of classic cinema , deserves its place in the altman canon .
> from its opening shot to the closing credits , the gingerbread man is permeated with a sense of dread , with a fear of the natural destructive forces of the universe .
this terrific sense of mood is a classic altman touch .
witness said opening shot : we see an aerial view of coastal georgia with its writhing , undulating landscape while the soundtrack grumbles ominously in our ear .
we roll over the hills into the town of savannah , then zoom in close on a red sports car speeding over a bridge while its driver chatters oblivious on his cell phone .
right away we know that the driver of that car is in for a few surprises .
pay attention , boys and girls - this shot was not conceived by john grisham , but by altman .
this is what a great director can do for questionable source material .
the sports car belongs to rick magruder ( kenneth branagh ) , the aforementioned hotshot attorney who specializes in police brutality cases .
magruder has just won a high profile case and celebrates that night with a catered party at his office .
outside after the party he meets one of the waitresses , mallory doss ( embeth davidzt ) , just as she realizes her car has been stolen .
driven by southern chivalry , a driving rainstorm and his unspoken attraction to the fragile waitress , magruder offers her a ride home .
there he learns more about mallory 's life than he bargained for .
her car was stolen by her schizophrenic father dixon ( robert duvall ) , a ted kyzynski - style whacko who has been stalking and terrorizing his own daughter .
magruder , perhaps influenced by mallory 's decision to strip off her wet clothes in front of him , is sympathetic to her plight , and offers to help her get her father committed
- right after he sleeps with her , of course .
this simple offer of help leads magruder down a dangerous path with a black end .
he succeeds in having dixon incarcerated in a mental hospital , and for a moment all appears well .
but then dixon 's crack team of homeless commandos bust him out of the lockup - and suddenly magruder finds himself , mallory and his own children in danger .
the cops wo n't lift a finger to help a liberal attorney .
his only allies are his faithful assistant lois ( daryl hannah ) and his bumbling private - eye sidekick clyde ( robert downey jr ) .
if this predicament was n't bad enough , hurricane geraldo is bearing down on savannah and throwing the world into chaos .
altman may provide the atmosphere , but branagh 's performance holds the gingerbread man together .
an accomplished actor when he is n't directing himself in vanity productions , branagh does a fine job of making rick a sympathetic hero while casting doubt upon his motives .
is his offer of help to mallory an act of kindness , or of egotism ?
magruder is so sure of his place in the world that he never considers that he has bitten off more than he can chew until he has to swallow it - and by then it 's too late .
as the plot unfolds , magruder learns that none of us are as secure as we think we are .
and life is never so bad that it ca n't get worse . if you 're familiar with altman 's work , you 'll recognize several of his signature techniques .
characters are not introduced in establishing shots , but rather are allowed to wander in the background of scenes until their importance becomes apparent .
crucial scenes are shot from the outside through windows , making the audience unwitting voyeurs of the action .
dialog overlaps and the actors seem to slip naturally into an improvisational style .
and of course there 's
my favorite altman technique - the obligatory nude actress shot .
thanks to altman , here are some of the actresses i 've had the pleasure of seeing naked : sally kellerman , julianne moore , madeline stowe , even frances mcdormand .
and now i can add embeth davidtz , who looks quite healthy in the altogether .
the naked actress shot has become as ubiquitous to the altman film as the director cameo was to the hitchcock film .
is it old - school sexism , or a clever in - joke ?
you be the judge .
but back to the picture at hand .
in the hands of a mere mortal , the gingerbread man would have been a routine thriller , no better or worse than the countless others we 've all endured .
in the hands of a master
like altman , it becomes an exercise in existential doom , in its own way far more successful than scorsese 's cape fear remake , which tried for the same result .
what may prevent it from enduring with altman 's greatest work is a weak third act - in fact , there really is no third act in grisham 's story , so it appears that altman had to throw in the hurricane just to jazz things up .
but there are true moments of riveting suspense , and great performances by branagh , davidzt and downey jr - more than enough to see you through .
that polygram so hated this picture that they tried to steal final cut from altman , and then buried the marketing campaign when he won it back , should tell you how utterly clueless of quality most studios are .
they probably wanted it to look more like a time to kill .
and that , my friends , should make you very afraid .

Ex Output:
P