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

Input: Consider Input: linda fiorentino disappeared off the radar after a deservedly heralded turn in the cable pic the last seduction , and her being cast as dogma 's lead is nothing short of inexplicable .
she 's still in fine form
as bethany , an abortion clinic worker who 's lost her faith .
one night , a visitor from heaven makes a fiery entrance in bethany 's bedroom .
he is metatron ( alan rickman ) , the voice of god , and he needs her help : she must stop two fallen angels from entering a new jersey church - the fate of the universe depends on it .
god would do it him / herself , but he /
she is . . .
missing , having taken up human form somewhere on earth never to be heard from again .
bethany is joined on her road trip to the garden state by the " prophets " jay ( jason mewes ) and silent bob ( kevin smith , doing double - duty ) , the slacker minstrels who have appeared in all of smith 's films thus far .
at some point , rock drops naked out of the sky as rufus , the undocumented ( and very black ) " thirteenth apostle " , and offers his assistance , as does divine stripper serendipity ( salma hayek ) .
it 's a wild ride .
they 're in pursuit of loki and bartleby ( damon and affleck , respectively - this is probably the sharpest either has ever been ) , who were banished from heaven to wisconsin and have discovered a dogmatic loophole that will enable their return .
loki decides to wreak havoc along the way with the knowledge that his sins will be absolved at the pearly gates .
at one point , he terrorizes a boardroom full of suits with an angry combination of words and bullets .
it 's a nasty , guiltily enjoyable little scene that asks , " how corrupt are you ? " .
wings of desire
this ai n't .
since debuting with clerks , smith has grown as a director , particularly in terms of working with actors .
( chris rock is this film 's only weak link - between jokes , he 's wooden . )
his no - frills visual style has n't changed much over the years , though ( dogma 's widescreen compositions at least have blockbuster affectations ) , nor has his writing - his characters still sit around delivering one caustic , hilarious speech after another .
dogma chips away at big religious issues - namely , the hypocrisy that accompanies any organized system of beliefs - eloquently and articulately , but a few of the monologues sound too much like blatant exposition .
as well , the verbal introduction of each new person seems to take forever .
any movie with this much weighty talk would have a hard time maintaining momentum ( hurlyburly , anyone ? ) , and eventually dogma 's pacing goes slack .
a long diatribe from bartleby late in the game , in which he laments the destiny of celestial beings , comes at a point when we 've heard enough .
because his change of heart ( bartleby is initially the good cop to loki 's bad ) drives the climax , said rant is given a great deal of screen time .
sure , affleck deserved a big moment ( damon steals their scenes together prior ) , but it ultimately makes the film and us feel bloated .
like tarantino , smith was a video - age sponge who became a sample - mad indie filmmaker .
dogma pays welcome homage to an eclectic batch of movies , including indiana jones and the last crusade , with silent bob doing his best harrison ford , and weird science - a shit demon attacks our heroes !
smith also has a kitchen sink brand of humour : his dexterous maneuvering between the satirical ( a cardinal played by george carlin attempts to mount a publicity campaign with the slogan " catholicism
wow ! " )
and the scatalogical ensures that no lover of comedy will leave
dogma feeling malnourished .
i bust
( ed ? )
a gut on several occasions .
proceedings also get off on the right foot with the opening with
the funniest disclaimer ever .
it 's a disclaimer unlikely to put protestors at ease , for to read it , one actually has to see dogma .
the prerelease ballyhoo is in the tradition of the last temptation of christ 's , martin scorsese 's 1988 adaptation of nikos kazantzakis ' controversial novel , in that it is not directly linked to the picture 's content but to rumours and heresy .
there 's a famous anecdote about fletch director michael ritchie inviting picketers of the last temptation of christ into a screening on his dime , just so they could know for certain what they were rallying against .
( not one of them had watched it . )
every single person refused .
smith and scorsese have a lot in common , and so do the two films in question , because both smith 's bethany and scorsese 's jesus are hollow shells without their faith .
in fact , dogma 's denouement ( which follows a thrilling showdown that 's worth the wait ) is a catholic love - in , a veritable recruitment poster .
( i felt sentimental about a religion i do n't belong to .
now that 's powerful filmmaking . )
smith is nothing if not sincere about his own devotion to god , and that spirituality shines through
.
it 's enough to make me forgive dogma for its editorial sins .
my religion is movies .
when the catholic league beats on dogma for imaginary crimes against a doctrine , in a roundabout way they 're attacking what i live for : freedom of expression through celluloid .
i therefore feel that , although i 'm no bible - thumper , i 'm at least as qualified to criticize dogma as william donohue and his followers .

Output: P


Input: Consider Input: i have no real tangible proof of this , but i swear that there are a lot of producers in hollywood who adamantly believe that if you take a bad script , written by a bad writer and give the project it to an equally bad director , then it is actually possible to make a good movie . using their logic , all that really needs be done to change the bad movie into a good movie is cast a bunch of super - famous actors and provide an almost unlimited production budget .
this is the only way i can fathom how 20th century fox hired jon amiel in order to direct this eighty million dollar waste of my time
( not counting the time it took me to get to and from the theatre ) .
now , before i continue to ferociously attack what 's wrong with this film , i just want to point out that one of the reasons it fails so miserably is because it does have the potential to be an exciting thriller .
catherine zeta - jones plays virginia baker , an insurance investigator tracking down an infamous art thief named robert macdougal ( sean connery ) .
if you 've ever seen any hollywood blockbuster before , i really do n't have to spend too much time on frivolous plot details : the two team up for various jobs , stealing various things for various purposes .
the problem we come to is that we 've all seen this a few billion times before and this film does n't break any new ground in the big - budget / hollywood / action genre .
the result is that the entire production feels contrived
.
i 'm going to be completely honest here : pretty much the only thing keeping me awake throughout the run - time was looking at catherine zeta - jones .
now while this may be a compliment for ms .
zeta - jones , it certainly is n't for either the writers or the director , who are not nearly as clever as they think they are .
just about the most profound thought they can inject into this film is when they have macdougal lecture baker on the semantic difference between " entrapment " and " blackmail " .
with an eighty million dollar budget , you 'd think that entrapment would at least feature edge - of - your seat action scenes or breathtaking special f
/ x . well , you 'd be wrong .
the action that is present in this film takes place in a huge skyscraper and is relatively unspectacular .
unfortunately for all those involved with entrapment , die hard narrowly beat it to the screen by ? 11 years .
the reality is that after 15 minutes of watching this picture , you know exactly what 's going to happen , despite rather pathetic attempts in the screenplay to throw in plot twists .
many scenes seem to exist merely as a reason to outfit zeta - jones in extremely tight - fitting clothing .
one particular scene features baker crawling around trying to avoid laser - beams while she tries to steal an ancient chinese mask .
nothing wrong with that , but she entered the room from the floor and knew exactly where the mask was -
so why did n't she and macdougal tunnel in directly under the mask instead of the other side of the room ?
i 'll tell you why : because it 's a great excuse to photograph zeta - jones ' posterior as it slides underneath those beams ( and it also allows a second scene of the exact same thing - the rehearsal ) .
ving rhames also makes an appearance in this movie , and though he has great screen presence ( although so do connery and zeta - jones ) and the most interesting character in the film , not even he can rescue this film from the depths of the boring film abyss
( a concept i invented just to describe this picture ) .
one last complaint : entrapment is littered of instances where macdougal will just slip into a shadow or behind a building , or he becomes obstructed by a moving vehicle and then in the next shot , he 'll spontaneously disappear in ninja - like fashion .
i can picture amiel patting himself on the back , thinking to himself " it 'll leave the audience wondering for days
: how did he do that ?
"
we know jon , it 's called editing .

Output: N


Input: Consider Input: there 's no reason to doubt that donnie brasco is based , as its opening credits proclaim , on a true story .
but if it 's an accurate picture of life on america 's mean streets , than cinematic depictions of organised crime have had a much stronger basis in reality than i would have previously thought .
for from the film 's outset , when a group of hoods jocularly trade differing opinions on the merits of various automobiles ( not unlike a number of movie lowlifes who recently gave a madonna song a close reading ) donnie brasco resembles more than passingly a few gangster flicks once believed to be works of fiction .
our eponymous hero ( johnny depp ) is not the cheap crook he first appears to be .
brasco is joseph pistone , an undercover fbi agent who has the task of chumming - up to lefty ( al pacino ) , a seasoned hood who tutors pistone in the art of being a " wiseguy " .
regrettably , pistone learns his lessons all too well .
his concern for lefty , who is burdened with a heroin addicted son , exacerbates his own family troubles : his children resent his lengthy absences and his wife fears that her husband 's gangster persona is becoming a little too convincing .
true , the focus on pistone 's family life does deviate from the typical gangster - flick formula , but this subplot never rises above its television drama origins .
the unhappy couple trade predictable lines and engage in drawn - out domestic squabbles ? including an ill - advised marriage guidance routine ?
that slow the film down unnecessarily . the biggest problem with donnie brasco , however , is that its wiseguy attitude and style lacks the flair of its many predecessors .
the awkward use of an occasional disco tune momentarily reminds us its the 70 's , but not with the consistent and blindingly tacky style ?
i loved those fluoro coloured suits ? of scorces ' costume drama casino .
more importantly , pacino 's presence triggers memories of his earlier movie triumphs in which similar territory was covered far more effectively .
donnie brasco 's take on american values , for instance , is feeble and obvious .
lefty rambles out dreams of material betterment to the accompaniment of grating inspirational music .
inexplicably , lefty 's horatio alger inspired gush is supposed to move us .
it does n't any more than his family troubles do , which are dealt in the same saccharine and obvious manner as pistone 's .
just think a minute on how these themes were explored in the godfather movies and scarface .
in these pictures pacino 's dedication to a peculiar and bloody hyper - capitalism was twisted and confronting , while his dogged application of macho wiseguy procedure meant that his relations to friends and family was intriguingly dark ?
neither were spared bloody retribution for breaching wiseguy regulations .
donnie brasco 's tawdry little crime , therefore is n't so much its repetition of familiar gangster themes , but
the shameless way in which it sanitises them .
( oh and by the way , i forgot to mention that the script also sports a startling subplot : pipstone 's superiors are obstructive incompetents who are infuriated by his constant insubordination ?
is that a " damn you mcbain !
" i hear from springfield way ? )
so
the movie is cliched .
big deal
, what do you expect from a gangster - flick ?
well you expect quality action sequences and bravado performances in abundance if its going to be a decent example of the genre .
donnie brasco fails on both counts .
the action scenes never rise above the ordinary and depp 's woeful performance tends to smother the good - work of his comrades .
admittedly , pacino does nothing new and michael madsen ( sonny ) simply smirks his way through the picture like a slightly subdued mr .
white , but both possess an unmistakable sly charm .
depp usually exhibits a bit of class himself , but regrettably , being in the presence of one of his betters must have left him star - struck , for he is completely hell - bent on mimicking pacino 's well - earned high style .
the consequences are painful to watch .
its no exaggeration to say that the film 's credibility is seriously strained by the sight of the pistone family 's uncanny ability to keep a straight face in front of their breadwinner 's phony brooklyn accent .
perhaps we should take pity on the makers of donnie brasco .
maybe a scrupulous adherence to pinpoint accuracy demanded tiered dialogue and scenarios weakly reminiscent of classic gangster flicks .
if this is indeed the case , surely the makers of donnie brasco could have explored the fascinating possibility that america 's underworld is committed to emulating , albeit in heavily attenuated form , their movie namesakes .
depp could have poignantly played a simple cop who becomes a hideous parody once he is forced to mimic big - screen gangster greats .
who knows what insights into the criminal psyche could have arisen ?
but then again , perhaps donnie brasco is n't so true after all .


Output: N


