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

[Q]: one of these days , i 'll make good on my promise never to rent another abel ferrara movie .
king of new york and body snatchers notwithstanding ( and
bad lieutenant is only fit for a single , emotive viewing ) ,
his exploitation flicks have fallen into a rut of hoary art - house trappings .
it 's a perfume - drenched , coke - addled visit to the seedy pornography shop , where beautiful models ( no , hookers -- no , courtesans ) usher you through the silk curtains .
ferrara 's only consistently smart move has been casting
christopher walken over and over again , since walken can make a good movie great and a loathsome movie durable whenever he 's onscreen .
his 8-minute scene in the addiction is the saving grace of that otherwise abysmal , unwatchable , and pretentious failure .
when he starts talking about his vampiric bowel movements , or questions whether lili taylor has ever read naked lunch , there 's a much - needed dose of humor in an otherwise terminally unfunny affair .
you know those gothic club kids who are too cool to smile and let you know they 're actually having fun ?
the addiction is that movie .
walken , sadly , does not appear in the blackout .
the central role of matty , a junkie film star whose lightning paced hollywood life among the beautiful people is inevitably leading to his destruction , is played by matthew modine ( who takes what he can get after cutthroat island ) .
much like the protagonists of michelangelo antonioni 's terminally bored cultural elite , matty is involved in a bitter pill " relationship " with high fashioned model annie ( at least i think she 's a model . )
matty 's lady is played by french actress b ? atrice dalle , arrested twice for cocaine possession during filming of the blackout -- not that you needed to know that , but it lends credence to the idea that ferrara 's entire oeuvre has been filmed in a fucking blackout .
no kidding .
requiem for a dream has nothing on the junkie presentations seen in ferrara 's movies and his controversial urban lifestyle .
matty and annie struggle over her decision to have an abortion without consulting him .
no doubt , he was off chasing the dragon .
in his despair , matty indulges in a chemical induced weekend of debauchery , tooling around the streets of miami with video filmmaker mickey wayne ( dennis hopper , in full " dirty ol' man " mold smacking models on the ass and telling them to spread their legs .
wider ! )
toward the end of the night , they pick up a teenage waitress also named annie ( sarah lassez ) , start shooting a hastily improvised sexual scene , then matty thankfully blacks out .
something happened that night which haunts him throughout the rest of the movie , and it 's exactly what you think it was .
suffice to say , there 's some confusion over whether he killed annie one or annie two , or anyone at all .
the blackout is typical ferrara :
no plot to speak of , plenty of raunch , and horribly vogue images of matthew modine downing a bottle of jack daniels and a beer while wrapping himself in a see - through curtain in his hotel room by the sea , by the sea , by the beautiful sea .
cinematographer ken kelsch finds inconsistent glory in alternating gorgeous painterly sunsets with docu - style sleaze ( and we 're back to dennis hopper leering at girls in bathing suits .
"
yeah ! ! !
yeah ! ! !
arrrghhh ! " says mr .
hopper .
dirty old sod . )
it 's compulsive viewing in a tacky sort of way , leading to a ridiculous climax where modine seizes control of his destiny .
how 's that for cryptic ?
never fear -- ferrara finds time for some female full frontal nudity to remind us what he 's all about .
i can picture it now .
" take off yer clothes , kid -- it 's essential to depict the inner maelstrom of my central protagonist , and you 're his visual
i
d .
you 're the soul , the heart , the bloodstream of the picture .
take it off !
take it all off ! ! !
ha ha ha !
" friggin ' vampire .
yeah , you , ferrara .
a final word about matthew modine : he 's actually a fine actor when properly cast , but there 's something too squeaky - clean in his demeanor .
he 's ideally suited for sarcastic men in tightly controlled situations , such as his private joker in full metal jacket or the time - bomb nebbish in short cuts ( who is every bit as superb as julianne moore in that famous scene , though no one seems to notice him ) .
[ he was in that scene ?
-ed . ]
here , he 's asked to let it all hang out , sporting a three - day stubble and oily bangs .
he throws around furniture like stanley kowalski , but it 's somehow lacking .
modine lacks the feral intensity of brando , entirely miscast in ferrara 's flesh fair .
better luck next time
, matt .
someday , you 'll be forgiven for cutthroat island , which was n't really your fault in the first place .
maybe atom egoyan will find a place for you somewhere , and all will once again be well in your world .
[A]: N

[Q]: capsule : earthy , experimental , difficult , shockingly frank ( even for 1997 ! ) , and ultimately refreshing story of a black man on the run from the cops .
the first few minutes of sweet sweetback 's baad asssss song ( yes , i checked --
that 's the correct number of ss )
are without dialogue , just eerie montages of sounds .
a young boy , obviously malnourished , is taken in and fed up by several loving mother - surrogate figures .
then one of them takes the boy to bed for a sexual initation ( underneath the title credits ) that 's far more confrontatory and shocking than any ten basic instincts -- probably because it has the directness and clumsiness of real life , something we 're not used to seeing on screen .
this is one tough movie to swallow , no matter who you are , but that probably reflects more on how pallid and unchallenging movies have gotten lately .
( i suspect the sex scenes in movies like el topo and salo would probably melt the synapses of most modern audiences . )
the plot is simple but not simpleminded .
sweetback , hassled by two white cops who are apparently just looking for an excuse to beat up on a black man , breaks his bonds and runs like hell .
along the way he moves through a good many of the kinds of environments that we are only just now being seen in a more serious light in the movies -- or at all , for that matter : the slums , the missions , the ghetto .
in other , lesser , movies , sweetback would be machine - gunning everything in sight and the end credits would roll over a pile of bodies ; in this one , we get taken on a kind of a tour of the depressing and anarchic world that sweetback takes for granted .
ssbas first appeared in 1971 and was promptly rated x ( " by an all - white jury " , as director melvin van peebles crowed in his legendary ad campaigns ) , and it 's hardly surprising why .
there 's a good deal of sex in the movie , but it 's handled in a way that 's unsettlingly frank -- a frankness that spills over into the rest of the movie .
in one scene , sweetback visits a friend 's house in the hope of getting sanctuary there , and the other man chats him up while on the toilet .
we 're not used to coming this close to people in real life , let alone in the movies -- especially not people who are not made out to be glamorous .
the movie is also full of experimental stylistics that are relatively unused today , but probably because of that seem curiously fresh and new in van peebles ' hands .
one scene , in which a man is interrogated by the cops , is loaded full of menacing energy as they fire off a gun inches from his ears , and suggest his deafness through a cleverly edited soundtrack .
another note : ssbas is not so much anti - white ( that would be too easy ) as anti - authority , and as the movie goes on to demonstrate , authority exists in many forms -- governments , churches , and even the paranoid inside of one 's own mind .
ssbas is ultimately about thirsting for freedom -- and it looks like we could use a little more of that in our movie diet , god knows .
[A]: P

[Q]: tibet has entered the american consciousness slowly during the past few years and burst into the forefront recently .
the dalai lama has made speaking tours , tibetan designs and artifacts are showing up in shops , the plight of the people has captured the imagination of major actors and artists and now there are two big budget films within as many months .
" kundun " ( " presence " , a name the monks call the young dalai lama )
opens in 1937 with the search for the 14th incarnation of the tibetan leader .
a group of monks enters a village and a two - year - old child catches their attention .
the young boy proves himself by identifying possessions of the previous holy man as " mine " .
he and his family are then moved to a monastery in lhassa where he is to be prepared to take his position as the religious and political leader of the country .
he is forced into difficult decisions when china invades the country in 1950 .
the peaceful and isolated country is ill - equipped to fight off the intruders and diplomatic attempts over the next years yield no results .
eventually he must make the painful choice to flee to neighboring india .
comparisons to " seven years in tibet " are inevitable .
both films cover much of the same ground although the earlier movie does so from a westerner 's point of view and features boxoffice draw brad pitt .
" kundun " features only native actors and is more of an insider 's story .
in some ways , this makes this film a superior concept , but it lacks the movement and spark that made " seven years " such an audience - pleaser .
the actors contribute to the realistic feel of the movie ( filmed in morocco for obvious reasons ) .
the only disappointment is chairman mao who looks like a wax dummy and moves as if he were a computer - generated character .
on an intellectual level , it is interesting to see how two different approaches handle the same facts .
some events are depicted differently and pitt 's austrian mountain - climber who was portrayed as a pivotal influence in the dalai lama 's life is n't even mentioned here .
glossed over in " seven years " , the problems with the tibetan political system is hinted at here as the dalai lama muses " we were just about to change things " after the chinese attack .
the film is magnificently beautiful thanks primarily to the cinematography of roger deakins .
his lingering camera shows the exotic tibetan culture with luscious detail .
especially striking is an extreme moving close up of a sand mandala grain by grain .
the visual treats more than make up for the movie 's faults creating a poetic meditation for the audience .
walking out of the theater you feel like you have awakened from a transcendental experience .
martin scorsese , known for his dark tales of the underworld ( " goodfellas " , " taxi driver " , " casino " ) has shifted gears .
something of a thematic follow - up to his " the last temptation of christ "
, this is his slowest film yet .
oddly enough for a director with a history of graphic violence presenting a history filled with atrocities by the chinese , most of these events take place off - screen .
his decision to not over - explain rituals is commendable .
the stumbling oracle who spits out his prophecies while in a trance state is much more effective as a mystery
than if we were spoon - fed interpretations .
philip glass 's score is impressive although at times it is too overwhelming and distracting .
i talked to a tibetan i met outside the theater who had just seen the film and was walking back in to see it again .
hearing his description of how he escaped from tibet at the age of seven and how his father was one of the soldiers accompanying the dalai lama during his trip to india , i was struck by what was missing in the movie .
as grand as it looks and as historically accurate as it is , there is a distance between the audience and the movie .
the film is more concerned with visuals and history and less so with human beings .
with the exception of a few scenes , involvement with the characters is slight .
one of those exceptions is the portrayal of the young dalai lama , shown as a mischievous boy who ca n't resist being a kid sometimes .
an encounter with his older brother thubten
j. norbu ( a retired indiana university professor ) who tells the young leader the chinese have ordered him to persuade him to accept communist rule or kill him is an outstanding moment , but there are n't many of these .
even with its problems , the " kundun " experience is phenomenal , but one that i fear most will miss .
many people who saw " seven years in tibet " will have a " been there , done that " attitude .
it 's likely that the film will miss a wide - spread appeal and public response will be the sound of one hand clapping .
[A]:
P