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.

Ex Input:
What on earth has become of our dear Ramu? Is this the same man who made Sarkar, Satya, and Comapny? I refuse to believe so. If AAG was Ramu's most ambitious project, he has clearly jumped off the high cliff he has ascended by giving the industry some of the greatest works of all times. This movie is made to fall like a brick. I was cringing to leave the theater, but I was forced to sit because I wouldn't have been able to take my car out of the parking lot before others also left. Else, nothing would have made me sit beyond interval.This movie is nowhere close to Sholay. It doesn't even come near it within a mile. I believe Ramu surely loves The Godfather more than Sholay, since Sarkar was a classic piece of work. I read Ramu's interview a couple of days back, in which the interviewer said that Ramu doesn't sleep for more than 4 hours a day, that too not at a stretch. I completely agree with this now, as his lack of sleep has probably taken its toll on the movie.There is no power in the performance. Amitabh Bachchan doesn't even look scary. He looked more terrifying in the few posters and wallpapers I saw earlier. Ramu's favorite Nisha Kothari did a fantastic job in Sarkar because she didn't have many dialogs (in fact none if I remember clearly). She opened her mouth in this movie, and has found a place in history. The new guy playing Jai's role seems to have that brash look, but didn't manage Jai's role at all. I cant go on... Im sorry... my pain is too big for me to manage right now.I promised myself throughout the movie that I will watch the original Sholay once more just to see that it is still there.Bottom Line: Horrible movie. The media and critics are going to cook Ramu's goose. And just to remind all readers once more, I am one of the biggest Ramu fans, and even I cant spare him for this act.

Ex Output:
negative

Ex Input:
Being a fan of the manga and anime of Go Nagai (DEVIL MAN, DEVIL LADY, VIOLENCE JACK, etc.), I was looking forward to this one. I'd seen neither the manga nor the anime, so I had no preconceived notions going in. Good thing, too. What we have here is a series of silly softcore movies of the type that used to turn up with alarming regularity on cable channels late at night. While it's tame compared to what gets rammed down the throats of regular cable viewers (our hero's naughty bits are either tastefully tucked away behind a strategically glued-on scarf or emblazoned with a ridiculous sunburst effect), there are prolonged scenes of bondage and torture that lend the proceedings just enough smarminess to make it unsuitable for the kiddies. While I have nothing whatsoever against nude female heroes, I do dislike amateurishly made movies (there are at least four in this series). On the plus side, there's at least one stunningly beautiful actress in each of the four episodes I saw. It's no wonder Nagai's TESTICLE BOY never made it...

Ex Output:
negative

Ex Input:
Paris, JE T'AIME is a wondrous cinematic homage to the city of light and the city of love, a film so complex that it almost defies summarization and reviewing. Ask a large group of people their impressions of life in Paris and the result would be something akin to this film. Tied together by each of the sectors or Arrondissement of the city, the film examines love in all forms, native folk in their Parisian modes, and tourists interacting with the great city. Approximately twenty writers and directors, each with about five minutes of screen time, include Olivier Assayas, the Coen Brothers, Sylvain Chomet, Isabel Coixet, Wes Craven, ALfonso Cuaron, Gerard Depardieu, Christopher Doyle, Vincenzo Natali, Alexander Payne, Walter Salles, Nobuhiro Suwa, and Gus Van Sant among others less well known. The stories vary from hilarious, to humorous, to touching, to tragic, to banal, to tender.In one story a young Frenchman (Gaspard Ulliel) is attracted to a young lithographer (Elias McConnell), pouring out his heart in French to a lad who speaks only English. In another a separated husband and wife (Gena Rowlands and Ben Gazzara) meet in the Latin Quarter to finalize divorce proceedings while another couple in Pere-Lachaise (Emily Mortimer and Rufus Sewell) approach marriage without connection until the spirit of departed Oscar Wilde intervenes. Steve Buscemi in Tuileries confronts superstition in a subway with his bag of tourist collections, in Bastille Sergio Castellitto (in love with mistress Leonor Watling) is ready to divorce his wife Miranda Richardson until she confides she has terminal leukemia, Juliette Binouche confronts agony about her son's fantasies and loss in Place des Victoires with the help of a mythical cowboy Willem Defoe, Sara Martins and Nick Nolte and Ludivine Sagnier display a keen tale of mistaken ideas in Parc Monceau, Fanny Ardant and Bob Hoskins 'play out' a strange relationship in Pigalle, Melchior Beslon plays a young blind man to actress Natalie Portman in learning how to see in Faubourg Saint-Denis, vampire love between Elijah Wood and Olga Kurylenko in Quartier de la Madeleine, Maggie Gyllenhaal is an ex-patriot actress stung out on drugs in Quartier des Enfants Rouges, and Margo Martindale is a visiting tourist letter carrier trying desperately to speak the French she has studied for her life's trip in a tenderly hilarious 14eme Arrondissement.The final few minutes of the film tries to tie together as many of the stories as feasible, but this only works on superficial levels. The film is long and there are no bridges between the many stories, a factor that can tire the audience due to lack of time to assimilate all of the action. But it is in the end a richly detailed homage to a great city and supplies the viewer with many vignettes to re-visit like a scrapbook of a time in Paris. It is a film worth seeing multiple times! Grady Harp

Ex Output:
positive