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

[Q]: the film " magnolia " can be compared to a simple flower as its title and movie poster suggests .
the dozens of characters introduced and developed are like the petals on the flower .
they all come from the same stem and as the flower begins to develop they grow farther and farther apart .
the numerous characters in the film are all closely connected no matter how different they are from one another socially .
from a humiliated but kind cop to an aging game show host , each one of these characters is suffering the same kind of pain .
they are each seriously lonely and seek the perfect companion to end this loneliness .
whether this companion is a distant family member or a spouse , each character begs for one and spends the whole film searching for the perfect one .
" magnolia " is a clever , well thought out film from prodigy director - writer paul thomas anderson of " boogie nights " fame .
the detailed character analyses and the powerful script make " magnolia " memorable .
however , what really is impressive is that even though there are tons of characters in several unrelated stories , the film is never confusing .
anderson 's control over transitioning from one story to another story is masterful .
he also knows exactly when to cut to another subplot since not one of " magnolia 's " scenes drag on too long .
any three hour film that does not deliver even one uninteresting scene is definitely worth recommending .
from the fascinating beginning to the risky yet surprisingly satisfying ending the film just does n't get boring
.
it is obvious that anderson put a lot of time into connecting each subplot .
this is the ultimate game of six degrees of separation .
every character is connected to every other character by at the most two degrees .
for example , cop john c .
reilly is connected to game show host phillip baker hall through hall 's daughter melora walters who once went on a date with reilly .
the fact that each character is so different from the others yet so similar shows that there are universal pains that all classes , races , and genders suffer .
anderson 's explanation to prove this point is both accurate and convincing .
the only mistake anderson made in trying to connect his characters was by making his actors all sing an aimee mann song simultaneously .
this was foolish not only because it was unbelievable and hilariously erroneous but also
because it had a broadway musical feel to it and this movie is about as far apart from your typical broadway musical than you can get .
the performances in " magnolia " are perfection .
this is a classic example of flawless casting and flawless ensemble acting .
anderson allows many of hollywood 's best supporting actors to blossom at what they do best , character acting .
all of the main characters in each story are perfect because they are able to reveal more emotions and attitudes in their brief time on the screen then most movie stars can do in a feature length film .
worth noting is tom cruise , who stepped out of his usual superficial starring role and into a funny but depressing
tour de force performance .
he was probably noticed more than the other actors in the film by award givers because his role here is so much different and impressive than those in the past ( however any actor in this film could be nominated for best supporting actor without any complaints )
the only problem i had with the acting was that a few of the characters felt seriously edited down such as melinda dillon 's character as phillip baker hall 's wife .
she seemed to be thrown in towards the end
and i felt very little sympathy for her because i had not seen her enough earlier in the film .
" magnolia " uses several effective metaphors to describe its characters .
anderson has the talent to make the audience sympathetic towards numerous people in only a few hours .
to see that anderson is able to perfectly portray
this many different types of people shows that he has a keen sense of diversity .
diversity is what makes a director successful for a long period of time .
i predict a lot of diversity and success from anderson in the future .
[A]: P

[Q]: stendhal 's syndrome : a condition where , in the presence of art , a person becomes engulfed in a painting and hallucinates and may afterwards suffer symptoms such as depression , suicidal behaviour and personality disorder .
grim stuff , to be sure , but the subject of a remarkable film from italy 's master of the horror thriller dario argento . boasting an unforgettable soundtrack from the grandfather of film music ennio morricone
, the stendhal syndrome is a quite magnificent return to form for argento .
it follows his disappointing american debut trauma ( 1992 ) , the patchy opera ( 1987 ) and several mediocre films he produced for young italian director michele soavi in the late 1980 's .
based on the novel by graziella magherini , the film stars argento 's daughter asia as young roman police inspector anna manni in pursuit of a brutal rapist - killer .
visiting florence to follow up several leads , she is lured by the killer alfredo ( thomas kretschmann ) to an art gallery , a favourite haunt where he hopes to identify exactly who is on his tail .
at the gallery anna is overwhelmed by a painting and faints .
posing as a bystander , alfredo briefly comes to her aid and having now identified his pursuer , a strange game of cat and mouse begins .
a gripping story evolves , and a coherent one , too , which may surprise those familiar with argento 's often lumpy narratives .
the stendhal syndrome is not a simple cop - hunting - killer scenario .
it is a disturbing and often compelling study of the central character 's psychological disintegration .
the script explores its psycho - sexual themes with intelligence and candour , perhaps too much so for more sensitive viewers .
but as dark as its themes are , the stendhal syndrome emerges as one of the most artful and effective european thrillers of the last ten years .
argento is once again working in his native italy , and he fully exploits the opportunities to use art and architecture for both symbolic statements and as departure points for several brilliant hallucinogenic sequences . effects whiz sergio stivaletti serves his director well here , and the cinematography by giuseppe rotunno is consistently excellent .
the film 's opening 20 minutes segues between hallucination , flashback and real - time with tremendous style .
proof that , at his most inspired , argento remains one of the world 's most exhilarating filmmakers .
the cast is generally good , though marred at times by dubbing into english that renders speech all but emotionless .
asia argento 's performance is by turns risky , awkward and fascinating .
it 's a difficult role , and given her relative inexperience on screen
she deserves applause for her efforts .
thomas kretschmann is chillingly effective as alfredo , and marco leonardi ( of cinema paradiso , and possibly the most gorgeous looking man in italy ) does okay as anna 's work colleague and increasingly confused love interest .
but perhaps the stendhal syndrome 's single most striking element is ennio morricone 's soundtrack .
active since the 1960 's
, morricone has scored over 100 films in his career and this must rate as one of his finest efforts .
it 's mostly a variation on the one theme : a slow circular melody for strings and wordless female vocal possessed with an extraordinary , haunting beauty that lingers long afterwards .
it 's been three decades since argento and morricone worked together .
this is a long welcome reunion .
if the film has a fault , it is that the last half hour drags a little and the film does n't quite reach a completely satisfying climax .
but by the closing scenes , the stendhal syndrome has already offered us enough to qualify as one of the very best films of dario argento 's career .
* note : see the uncut print from japanese laserdisc if you can .
dubs of this version are available from various video dealers on the world wide web .
[A]: P

[Q]: phil ( radmar jao ) has a hairy problem .
his beard is growing so rapidly that he has to shave every hour .
he recently met the author of a non - fiction book on lycanthropy , also referred to in the movie as werewolfism , and phil now believes that his problem is that he has become a werewolf .
using enough chains and handcuffs to be a hit at a sadomasochists convention , he ties himself in at night lest his urges overcome him .
and phil is just one of the many quirky characters that inhabit shopping for fangs .
made on a pittance , the film features an almost exclusively asian - american cast .
as directed by quentin lee and justin lin ,
the movie is so amateurishly bad that it could almost be a parody of indie films .
jeanne chin plays katherine , a meek and soft - spoken wife , who worries that her husband is unhappy with her because she is not giving him enough sex .
we know this through the endless scenes of her confessing her sins , real and imagined , to her therapist .
as her husband , jim , clint jung plays a muscle man with a macho crudeness .
the picture is filled with stereotypes .
there 's a mysterious , loud - mouthed waitress with a big , platinum blonde wig who brags to everyone she meets that she 's a lesbian .
she spends most of the movie putting the moves on her favorite customer , a gay guy .
and the lone white with a major role , the author on werewolfism , has wildly unkempt , orangey blonde , curly hair .
from its opening scene of an attempted rape at knifepoint to its easy to guess ending twist , the script rarely has anything to offer .
the story is so minimally developed that it feels almost like the actors were ad - libbing .
one can only hope that the directors ' next film will have some substance and some credible acting .
shopping for fangs runs 1 : 30 .
it is rated r for sex , violence , and profanity and would be fine for older teenagers .
[A]:
N