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.

Q: I have to say I totally loved the movie. It had it's funny moments, some heartwarming parts, just all around good. Me, personally, really liked the movie because it's something that finally i can relate to my childhood. This movie, in my opinion, is geared more towards the young gay population. It shows how a young gay boy would be treated while growing up. All the taunting, name-calling, and not knowing is something I, like most other young feminine boys, will always remember, and now finally a movie that illustrates how hard it really is to grow up gay. So, I would definitely recommend seeing this movie. Probably shouldn't really watch it until a person is old and mature enough to understand it

A: positive
****
Q: Leslie Charteris' series of novels of the adventures of the slightly shady Simon Templar ("The Saint") was brought to the screen in the late 1930s with the up and coming George Sanders as Templar. It was a careful choice - Sanders usually would play villains with occasional "nice roles" (ffoliott in FOREIGN CORRESPONDENCE, the title hero in THE STRANGE CASE OF UNCLE HARRY, the framed "best friend" of Robert Montgomery in RAGE IN HEAVEN). Here his willingness to bend the rules and break a law briefly fit his "heavy persona", while his good looks and suave behavior made Templar a fit shady hero like Chester Morris' "Boston Blackie", and (to an extent) Peter Lorre's "Mr. Moto". The films are not the best series of movie mystery serials - but they are serviceable. Like Rathbone's Holmes series or Oland's Chan's series the show frequently had actors repeating roles or playing new ones (the anti-heroine in the film here was played by Wendy Barrie, who would show up in a second film in the series). This, and slightly familiar movie sets make the series a comfortable experience for the viewers, who hear the buzz of the dialog (always showing Sanders' braininess in keeping one step ahead of the bad guys), without noting the obvious defects of the plot. All these mysteries have defects due to the fact that even the best writers of the genre can't avoid repeating old ideas again and again and again.Here the moment when that happened was when one of the cast admitted his affection for Barrie, which she was long aware of. Shortly after he tries to protect her from the police. But as the film dealt with the identity of a criminal mastermind, it became obvious that this person was made so slightly noble as to merit being the mysterious mastermind (i.e., the script disguised him as the least likely suspect).Barrie is after the proof that her father (who died in prison) was framed by the real criminals in a robbery gang. She has several people assisting her - mugs like William Gargan - and she gets advice from the mastermind on planning embarrassing burglaries that can't be pinned on her. The D.A. who got her father convicted (Jerome Cowan) is determined to get Barrie and her gang. The only detective who seems to have a chance to solve the case is Jonathan Hale, who is shadowing Sanders but reluctantly working with him. The cast has some nice moments in the script - Hale (currently on a special diet) is tempted to eat a rich lobster dinner made for Sanders by Willie Best. He gets a serious upset stomach as a result, enabling Sanders and Barrie to flee Sanders' apartment. Best has to remind him (when he feels better) to head for a location that Sanders told him to go to at a certain time.There is also an interesting role for Gilbert Emery. Usually playing decent people (like the brow-beaten husband in BETWEEN TWO WORLDS) he plays a socially prominent weakling here - whose demise is reminiscent of that of a character in a Bogart movie.On the whole a well made film for the second half of a movie house billing in 1939. It will entertain you even if it does not remain in your memory.

A: positive
****
Q: Red Rock West is a perfect example of how good a film can be with practically no budget. All you need is a smart script, good actors and loads of atmosphere. RRW delivers all these and more.Nic Cage plays an ex-marine, injured in Lebanon, who is down to his last 5 dollars after being refused a job on an oilfield because of his bad knee. He roles into Red Rock and is mistaken by bartender Wayne (JT Walsh, not quite as his most menacing-but still evil) for a hit-man from Texas.He pays him to kill his wife and make it look like burglary. Only when he gets there, just to check her out. She offers him double to kill Wayne. Cage just wants to get the hell out of town with his free money and leave the sparring lovers be. But a series of mishaps and setbacks results in him yo-yoing in and out of Red Rock, back and forth. Eventually this leads to a run-in with Lyle from Dallas (a cheeky and somehow sympathetic Dennis Hopper), the REAL hit-man from Texas who offers to help without knowing he's making the plot more complicated.RRW never had a big release, thus most of it's audience discovered it on video or on cable TV showings. Viewing it in such a way might make it seem like a TV movie but it's bigger than that. The slick, slowly-timed direction, moody score and howling desert wind would have all made for a great movie in theatres but the best you can do these days is watch the DVD on a big HDTV.The only weak point of the movie I can think of is Lara Flynn Boyle's boring femme fatale with the nasty dyke-ish hairdo. I certainly wouldn't fall for her but if you assume that Nic Cage's character is in to militant lesbians then you'll accept it nonetheless.

A:
positive
****