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

Input: Consider Input: synopsis : al simmons , top - notch assasin with a guilty conscience , dies in a fiery explosion and goes to hell .
making a pact with malebolgia , a chief demon there , simmons returns to earth 5 years later reborn as spawn , a general in hell 's army donning a necroplasmic costume replete with knives , chains , and a morphing cape .
sullen , wise cogliostro and flatulating , wisecracking violator vy for spawn 's attention .
comments : when todd mcfarlane left marvel comics ( where he had made a name for himself as a first - rate comic book penciller on the " spider - man " titles ) to join the newly - formed , creator - owned image comics , a new comic book legend was born : spawn .
mcfarlane 's " spawn " immediately became a commercial and critical success and a defining comic book series of the 1990s .
mcfarlane created a hero who was not only original but visually intricate , allowing mcfarlane to utilize his knack for artistic detail to the max .
the early " spawn " issues brilliantly capture mcfarlane 's genius at illustration and show his early attempts at writing .
with the popularity of " spawn " and the success of the current warner bros . 's batman film franchise , a movie version of some sort seemed inevitable for spawn .
in the summer of 1997 , hence , new line cinema released spawn , a live - action film based on the groundbreaking series .
this topheavy exercise in violence and special effects
unfortunately topples quickly and leaves fans of the comic book , like me , numbed by how much spawn misses the mark .
what happened ?
why is spawn so bad ?
todd mcfarlane himself
executive produced this disappointing misfire and even appears in a cameo .
i do n't think , however , that his presence necessarily hurt ( or helped )
the film .
i place the blame , in part , on the recent hollywood trend , fueled by public demand apparently , for special effects blow - out movies utilizing the latest computer technology .
these films focus upon the effects at the expense of everything else : character , plot , dialogue , etc .
spawn , reflecting this trend , shows the audience one gratuitous scene after another populated with morphing characters and filled with unnecessary pyrotechnics .
hardly a minute goes by in this film without fires , explosions , knives and chains appearing out of nowhere , glowing eyes , or constantly transforming demons .
a lot of it is visually interesting and technically solid , do n't get me wrong , but , because the script and cast are n't engaging , spawn ultimately comes across like overwrought wallpaper ( the surface may capture the eye , but nothing exists underneath ) .
spawn 's translation of the comic book suffers the most at the storyline level .
mcfarlane 's spawn was a tortured hero .
a mercenary by trade , al simmons was nonetheless a warm man in love with the beautiful wanda .
having died and journeyed to hell , he made a pact to return to earth to be with wanda .
simmons , however , discovers that his memories are fragmented , his body a creepy mess , and his wife married .
despite his sometimes violent nature , readers could n't help but feel sympathetic toward his plight as the spawn of the underworld .
spawn attempts to show all of this but does not spend nearly the time it should to do so .
when the characters are developed , they seem absurd rather than touching .
the cartoonish dialogue and implausible subplot
( a general possesses the antidote to a supervirus called heat-16 which he wishes to unleash to enslave the world ) do not help matters .
spawn , in an apparent attempt to duplicate the success of batman , also unwisely spends too much time on a villain , the violator ( batman favored the joker over batman ) .
john leguizamo , like jack nicholson in batman , receives top billing in the cast as the violator ; michael jai white ( al simmons / spawn ) is second .
i ordinarily find leguizamo an intensely annoying presence in films which seems to make him a perfect candidate for the violator .
the film , however , spends so much time on the violator 's offensive antics that they grate on the nerves .
apparently meant to be the comic relief in the film ( as nicholson was in batman ) , especially when contrasted with the sullen spawn , the violator 's lines are oftentimes grotesque and unfunny , leaving the audience wishing he would leave .
leguizamo does a satisfactory job in the role , but he is seen far too often in the film .
michael jai white , a relative newcomer to theatrical releases , seems to be an appealing actor , and he handles his role adequately , but we see little of him without various masks on .
more time needed to be spent on white 's character before he became spawn for the movie to pull at the heartstrings .
a special note should be made about martin sheen as the over - the - top , obnoxious , evil general wynn .
easily the hammiest performance in the movie , it 's hard to imagine how sheen mucked up his role so much ; after all , he played a vietnam assasin brilliantly in the great apocalypse now .
sheen 's excessive demeanor do not help the audience accept him as a mastermind villain and comes as a surprise considering his extensive career in film .
many other elements conspire with the disappointing script and abundant special effects to drag spawn down
.
mtv - style , jerky , in - your - face editing is one of them .
flames , for example , roll across the screen sometimes to announce a shift in setting .
cogliostro , unlikely wannabe guide for spawn , serves as a poor narrator for the film .
he goofily tells the audience , at one point , that " how much of [ spawn 's ] humanity is left remains to be seen , " as if the audience really cares as one violent sequence leads to another .
the music , finally , assaults the audience as much as the manic violence and offensive dialogue .
loud and obnoxious hard rock fused with drum loops dominate some scenes .
to be fair , however , marilyn manson 's " long hard road out of hell
" effectively compliments spawn 's return to earth , while filter and the crystal method 's
" ( ca n't you ) trip like i do " proves a surprisingly fitting theme song .
for as good a comic book as it is , " spawn " did not spawn a good movie .
spawn , instead , suffers from too much pomp and circumstance , and too little plot and character development
.
it receives two stars for its technically well - done special effects .
many other films , though , have equal , if not superior , special effects and are much better .
rated pg-13 , spawn seems more violent than many r - rated movies and probably would n't be appropriate for the very young .

Output: N

Input: Consider Input: james l . brooks , one of the developers of the simpsons and director of broadcast news , returns to the big screen with this entertaining , if slightly flawed comedy .
nicholson plays melvin udall , probably the most horrible person ever on the screen .
he 's racist , homophobic , and never has a good word to say to anyone .
so , nobody talks to him , except waitress carol conelly ( t .
v sitcom star hunt , who was last seen in twister , 1996 ) .
naturally , udall , conelly and gay neighbor simon bishop ( kinnear ) who nicholson hates , all hit it off in the end .
like good will hunting ( 1997 ) and titanic ( 1997 ) , even though the outcome is completely obvious , as good as it gets is an enjoyable , funny and warm comedy .
nicholson is hilarious as melvin , churning out insults with superb relish .
only nicholson could get away with the lines that melvin delivers .
hunt is also good as waitress carol , and easily rises to the challenge of nicholson .
there 's also ( thankfully ) a bit of chemistry between them .
kinnear , as the gay neighbor , seems to have a slightly underwritten role , he 's more of a plot convience than a character .
although his performance is good , his character just seems to exist to help melvin and carol come together .
in fact , the scene stealer is simon 's dog , who is funnier than nicholson .
but then again , pets are always cute on screen .
providing solid support is cuba gooding , jnr ( jerry maguire , 1996 ) and yeardly smith ( who is the voice of lisa simpsons in the simpsons ) although gooding is n't as good as is character in maguire , he is still fun .
he overacts a little , but not so much as to be annoying .
smith is also good , although she has a fairly small role .
even director lawrence kasdan ( body heat , 1981 ) makes an appearance as a doctor .
but this is primarily nicholsons film , and
every scene he 's in , he 's steals it .
he 's character is so hateful , though
, it 's amazing that anyone talks to him at all , especially carol .
and this is the films main problem .
it 's totally unbelievable that carol would ever consider liking melvin .
she does n't fall in love with him naturally , the film forces her to fall in love with him .
also , melvins character seems to go too nice , too quickly .
i would doubt anyone with a character like melvins would be able to turn back to a nice , loving person .
it would take a helluva long time , much longer than this film would like to make out .
brooks direction is good , though , if a bit average , but he usually manages to get an emotion out of the audience .
he handles the comedy scenes better than the sentimental ones ( he tends to pile on to much schmaltz ) but
generally he 's good .
there 's also a nice soundtrack by veteran composer hans zimmer .
but , generally , as good as it gets achieves what it sets out to do , which is to make the audience feel good by the end of the movie .
the movie is a bit overlong , but nicholson is such good fun that the running time passes by pretty quickly .
overall , as good as it gets is a fun movie , even though it may be unbelivable , and certainly worth seeing
( if just for jack nicholsons performance . ) not quite as good as it gets ( pardon the bad joke ) , but still good fun .

Output: P

Input: Consider Input: all feature film directors who cut their teeth on music videos , please raise your hands .
thank you for identifying yourselves ; now would you all please go away .
your influence has to rank as one of the most annoying trends in filmmaking in the last decade , and it shows no sign of abating any time soon .
it is n't just the strobe light quality of your twenty - cuts - per - minute editing , or the numbing over - use of popular music artists on the soundtracks which makes me suspicious of any film advertised " featuring the music of . . .
"
no , it is a kind of cynicism you have perfected , banking on the idea that no one will care about the lack of a story if you include enough bells and whistles .
welcome to the club , scott kalvert .
your adaptation of the basketball diaries is loud and one - dimensional , serving only as the vehicle for a performance by leonardo dicaprio that is better in pieces than it is as a whole .
dicaprio stars as jim carroll , the new york poet / songwriter/ performer on whose autobiographical writings the film is based .
as the film opens , jim is a budding high school basketball star given to petty thievery and getting drunk with buddies mickey ( mark wahlberg ) , pedro ( james madio ) and neutron ( patrick mcgaw ) .
one night , jim graduates from inhalants to cocaine , and shortly thereafter to heroin .
jim 's addiction to the drug starts him on a downhill spiral , as he is kicked off the basketball team by his coach ( bruno kirby ) , kicked out of his home by his mother ( lorraine bracco ) , and drops out of school .
along with mickey and pedro , jim becomes a victim of the street , living from fix to fix and sinking lower and lower .
the basketball diaries has been bouncing around as a project for years , but the sticking point has always been that jim carroll as a character was too unsympathetic and too much a loner .
screenwriter bryan goluboff created the three characters who act as carroll 's posse , resulting in a jim carroll who is just as unsympathetic , but now with equally unsympathetic friends .
as a film , the basketball diaries may be intended primarily as a cautionary tale , a 100 minute long " just say no " public service announcement , but
as drama it is monumentally ineffective because it is impossible to care much about anyone in the movie .
jim is sort of a jerk even before he becomes a junkie , but i suppose that his pseudo - sensitive poetry and his devotion to his terminally ill friend are intended to balance that out .
perhaps we are expected to see jim as one of those " good kids who falls in with the wrong crowd " that every parent believes his or her troubled child to be ; i saw him simply as part of the bad crowd .
without a character who changes in any appreciable way , the basketball diaries rapidly degenerates into a collection of crimes committed by jim and his strung - out cohorts , all choreographed to an oppressively loud soundtrack .
director scott kalvert does n't have many scenes with intrinsic dramatic impact with which to work , so
he substitutes silly slow - motion photography , self - consciously funky camera angles and choppy editing . on only one occasion , when a steady pan around a room where jim is trying to detox makes it appear that the walls are closing in , are any of the gimmicks effective .
mostly , they just draw attention to how hollow the story is .
they also do n't allow leonardo dicaprio 's performance to be as strong as it could have been .
for every impressive moment , like his desperate attempt to get his mother to give him money , there is a scene where kalvert pulls too much of the focus to his own camera theatrics .
dicaprio is most effective when he is playing off other actors , particularly a fine sequence featuring ernie hudson as an ex - junkie who tries to help jim straighten out , but kalvert wo n't let character interaction define this story .
he wants to turn dicaprio into a rock star , shooting him in dramatic fashion but denying him the opportunity to do much acting .
at isolate moments , the basketball diaries is a fine showcase for dicaprio 's talents .
far more frequently , it looks like kalvert is trying to imagine what a long form velvet underground video might have looked like .
Output: N