the movie opens with beautiful landscape shots of the northwest countryside. fenceposts jutting out from soddy earth and a freight train crossing fields of hay in the distance and billows of clouds and small structures by the side of the road and a motel or a diner in the middle of nowhere. over this plays a languid but mysterious twin peaks piano arrangement and it all adequately moody and atmospheric in an american gothic sort of way. through this however director jon jost keeps interleaving awkward frames and blocks of letters and opening credits with annoying swooshing sounds and color frames that announce blue and numbers that count towards the 12 steps to a conclusion announced in the opening credits. it obvious by the first couple of minutes that and though jost is more than capable to capture landscape and ambiance and he doesn not care for it. he has neither the affection for pacific northwest open expanses that terrence malick does in badlands and neither the time or inclination of twin peaks david lynch to weave mystery and intrigue around a given location. the rest of the movie is more jon jost frustration with experimental tricks that serve their own purpose. the use of split screen is interesting and i like in particular how we get the first image of ricky lee split in two and one is recounting childhood memories that matter only to him and the other is cursing and banging his head against the wall and and over the course of the movie the second ricky lee prevails and the macho laid back hipster with the shades who is hopelessly self involved and stupid. on the other hand the stop motion animation and choice to play most of the movie in voice over narration does not work. it does at times because jost writes as good as he shoots static shots of the smalltown american nowheresville but beth ann monologues and delivered in the most flat nasal monotone imaginable and a voice that sounds like stephen hawking computer speech program crossed with a horse whinnying and are so grating to the ear it kind of defeats the purpose of trying to pay attention. each of the couple relate to us their past experiences and their small triumphs and follies and doubts and past relationships that went nowhere. they say very little to each other and what they say they say with blank faces. but they hump like rabbits. that seems to be their only channel of communication left open and perhaps the only one they can trust with any safety. jost clearly picks his main characters in frameup among the naive and delusional and those baited by an american dream turned sour and but he doesn not place himself above them. he not condescending or smug in his portrayal. they may be misguided but they are graced with moments of humanity and awkward though they may be. were called to empathize and show affection rather than point and laugh. this is the most successful frameup becomes while the movie characters come alive even when their expressionless faces do not and even when jost gets in their way with his stilted framing and obtrusive camera games. then we go back to angry rants about the destructive effects of money played over an inserted shot of a dollar bill and we get a weird psychedelic sequence where jost camera glides under big leafy trees that soon turn beetroot red as beth ann repeatedly muses about the redwood trees in the voice over and we even get a sudden about turn towards plot and genre as the couple of beth ann and ricky lee and smalltown losers with nowhere to go and nothing to hold them back to their dead end lives and arrive in california and decide to rob a 7/11. the movie doesn not soar to an emotional crescendo in the aftermath of the botched 7/11 job such as one might expect from a couple on the run road movie and it slowly screeches to a halt and you look out the window to see it hasn not really got anyplace in particular. parts of the ride have been hypnotic and parts almost touching and funny and but everything else has been mostly annoying. 
the movie opens with beautiful landscape shots of the northwest countryside. fenceposts jutting out from soddy earth and a freight train crossing fields of hay in the distance and billows of clouds and small structures by the side of the road and a motel or a diner in the middle of nowhere. over this plays a languid but mysterious twin peaks piano arrangement and it all adequately moody and atmospheric in an american gothic sort of way. through this however director jon jost keeps interleaving awkward frames and blocks of letters and opening credits with annoying swooshing sounds and color frames that announce blue and numbers that count towards the 12 steps to a conclusion announced in the opening credits. it obvious by the first couple of minutes that and though jost is more than capable to capture landscape and ambiance and he doesn not care for it. he has neither the affection for pacific northwest open expanses that terrence malick does in badlands and neither the time or inclination of twin peaks david lynch to weave mystery and intrigue around a given location. the rest of the movie is more jon jost frustration with experimental tricks that serve their own purpose. the use of split screen is interesting and i like in particular how we get the first image of ricky lee split in two and one is recounting childhood memories that matter only to him and the other is cursing and banging his head against the wall and and over the course of the movie the second ricky lee prevails and the macho laid back hipster with the shades who is hopelessly self involved and stupid. on the other hand the stop motion animation and choice to play most of the movie in voice over narration does not work. it does at times because jost writes as good as he shoots static shots of the smalltown american nowheresville but beth ann monologues and delivered in the most flat nasal monotone imaginable and a voice that sounds like stephen hawking computer speech program crossed with a horse whinnying and are so grating to the ear it kind of defeats the purpose of trying to pay attention. each of the couple relate to us their past experiences and their small triumphs and follies and doubts and past relationships that went nowhere. they say very little to each other and what they say they say with blank faces. but they hump like rabbits. that seems to be their only channel of communication left open and perhaps the only one they can trust with any safety. jost clearly picks his main characters in frameup among the naive and delusional and those baited by an american dream turned sour and but he doesn not place himself above them. he not condescending or smug in his portrayal. they may be misguided but they are graced with moments of humanity and awkward though they may be. were called to empathize and show affection rather than point and laugh. this is the most successful frameup becomes while the movie characters come alive even when their expressionless faces do not and even when jost gets in their way with his stilted framing and obtrusive camera games. then we go back to angry rants about the destructive effects of money played over an inserted shot of a dollar bill and we get a weird psychedelic sequence where jost camera glides under big leafy trees that soon turn beetroot red as beth ann repeatedly muses about the redwood trees in the voice over and we even get a sudden about turn towards plot and genre as the couple of beth ann and ricky lee and smalltown losers with nowhere to go and nothing to hold them back to their dead end lives and arrive in california and decide to rob a 7/11. the movie doesn not soar to an emotional crescendo in the aftermath of the botched 7/11 job such as one might expect from a couple on the run road movie and it slowly screeches to a halt and you look out the window to see it hasn not really got anyplace in particular. parts of the ride have been hypnotic and parts almost touching and funny and but everything else has been mostly annoying. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
