from the film first shot  keira knightley as elizabeth bennet wandering reading through a field at dawn and thus invoking all the clichés cinema has developed to address the phenomenon of the strong minded rebellious female character in period drama  i knew i was in for something to make me want to kill myself. joe wright seemed not only to have not read the book and but to be under the regrettable misapprehension that what he was filming was not in fact jane austen subtle and nuanced comedy of manners conducted through sparkling and delicate social interaction in eighteenth century english drawing rooms and but a sort of u certificate wuthering heights. thus we were treated to every scene between elizabeth and darcy taking place outside for no apparent reason and in inappropriately rugged scenery and often in the pouring rain. not to mention that jane austen and and in particular p and p and is not about passion and sexual tension or love. it about different strategies of negotiating the stultification of eighteenth century society. which was completely ignored and so that the bennets house was a rambunctious and chaotic place where everybody shouts at once and runs around and leaves their underwear on chairs and and pigs wander happily through the house while the society balls become rowdy country dances one step away from a matrix reloaded style dance orgy while and everybody says exactly what they think without the slightest regard for propriety. the genius of jane austen lies in exploring the void created by a society in which nobody says what they think or mean because of an overwhelming regard for propriety and and the tragic predicaments of her characters arise from misunderstandings and miscommunications enabled by that speechless gap. so both the brilliance of jane austen and the very factor that allows her plots  particularly in this film  to function was completely erased. subtlety in general was nowhere int his film and sacrificed in favour of an overwrought drama which jarred entirely with the material and the performances. it was so obviously trying to be a serious film. the humour  which is pride and prejudice and both austen methodology and her appeal  was almost entirely suppressed in favour of all this po faced melodrama and and when it was allowed in and was handled so clumsily. pride and prejudice is a serious narrative which makes serious points and yes and but those serious points and weightier themes are not just intertwined with the humour and they are embedded in it. you can not lose jane austen technique and leaving only the bare bones of the story and and expect the themes to remain. not even when you replace her techniques with your own heavy handed mystical numinous fauxbrow cinematography. elizabeth bennett is supposed to be a woman and an adult and mature and sensible and clear sighted. keira knightley played the first half of the film like an empty headed giggling schoolgirl and and the second half like an empty headed schoolgirl who thinks she is a tragic heroine. elizabeth wit and her combative verbal exchanges and her quintessential characteristic of being able to see and laugh at everybody follies including her own and her strength and composure and and her fantastic clear sightedness were completely lost and replaced with . what. a lot of giggling and staring into the distance. rather than being able to keep her head when all about her were losing theirs and she started to cry and scream at the slightest provocation  and not genuinely raging and either while no and these were petulant hissy fits. and where the great strength of austen elizabeth (at least in austen eyes) was her ability to retain integrity and observance while remaining within the boundaries of society and sustaining impeachable propriety and knightley elizabeth had no regard whatsoever for convention. furthermore and she seemed to think that wandering around barefoot in the mud in the eighteenth century version of overalls established her beyond doubt as spirited and strong minded and and therefore nothing in the character as written or the performance had to sustain it. an astonishingly unsubtle and bland performance. in which quest for blandness and weakness and she was ably matched by matthew macfayden. donald sutherland as mr bennet seemed weak and ineffectual and permanently befuddled without the wicked sense of humour and ironic detachment at the expense of human relationships that makes mr bennet so fascinating and tragic. his special bond with lizzie and as the only two sensible people in a world of fools and was completely lost and not least because both of them were fools in a world of fools and and that completely deprived the end of the film of emotional impact. mr bingley was no longer amiable and well meaning to the point of folly and but was played as a complete retard for cheap laughs and and the woman who was playing jane was so wildly inconsistent that she may as well not have tried to do anything with the character at all. the script veered wildly between verbatim chunks of jane austen  delivered with remarkable clumsiness  and totally contemporaneous language which would not be out of place in a modern day romantic comedy. just get the bbc adaptation on dvd and save yourself the heartache. 
from the film first shot  keira knightley as elizabeth bennet wandering reading through a field at dawn and thus invoking all the clichés cinema has developed to address the phenomenon of the strong minded rebellious female character in period drama  i knew i was in for something to make me want to kill myself. joe wright seemed not only to have not read the book and but to be under the regrettable misapprehension that what he was filming was not in fact jane austen subtle and nuanced comedy of manners conducted through sparkling and delicate social interaction in eighteenth century english drawing rooms and but a sort of u certificate wuthering heights. thus we were treated to every scene between elizabeth and darcy taking place outside for no apparent reason and in inappropriately rugged scenery and often in the pouring rain. not to mention that jane austen and and in particular p and p and is not about passion and sexual tension or love. it about different strategies of negotiating the stultification of eighteenth century society. which was completely ignored and so that the bennets house was a rambunctious and chaotic place where everybody shouts at once and runs around and leaves their underwear on chairs and and pigs wander happily through the house while the society balls become rowdy country dances one step away from a matrix reloaded style dance orgy while and everybody says exactly what they think without the slightest regard for propriety. the genius of jane austen lies in exploring the void created by a society in which nobody says what they think or mean because of an overwhelming regard for propriety and and the tragic predicaments of her characters arise from misunderstandings and miscommunications enabled by that speechless gap. so both the brilliance of jane austen and the very factor that allows her plots  particularly in this film  to function was completely erased. subtlety in general was nowhere int his film and sacrificed in favour of an overwrought drama which jarred entirely with the material and the performances. it was so obviously trying to be a serious film. the humour  which is pride and prejudice and both austen methodology and her appeal  was almost entirely suppressed in favour of all this po faced melodrama and and when it was allowed in and was handled so clumsily. pride and prejudice is a serious narrative which makes serious points and yes and but those serious points and weightier themes are not just intertwined with the humour and they are embedded in it. you can not lose jane austen technique and leaving only the bare bones of the story and and expect the themes to remain. not even when you replace her techniques with your own heavy handed mystical numinous fauxbrow cinematography. elizabeth bennett is supposed to be a woman and an adult and mature and sensible and clear sighted. keira knightley played the first half of the film like an empty headed giggling schoolgirl and and the second half like an empty headed schoolgirl who thinks she is a tragic heroine. elizabeth wit and her combative verbal exchanges and her quintessential characteristic of being able to see and laugh at everybody follies including her own and her strength and composure and and her fantastic clear sightedness were completely lost and replaced with . what. a lot of giggling and staring into the distance. rather than being able to keep her head when all about her were losing theirs and she started to cry and scream at the slightest provocation  and not genuinely raging and either while no and these were petulant hissy fits. and where the great strength of austen elizabeth (at least in austen eyes) was her ability to retain integrity and observance while remaining within the boundaries of society and sustaining impeachable propriety and knightley elizabeth had no regard whatsoever for convention. furthermore and she seemed to think that wandering around barefoot in the mud in the eighteenth century version of overalls established her beyond doubt as spirited and strong minded and and therefore nothing in the character as written or the performance had to sustain it. an astonishingly unsubtle and bland performance. in which quest for blandness and weakness and she was ably matched by matthew macfayden. donald sutherland as mr bennet seemed weak and ineffectual and permanently befuddled without the wicked sense of humour and ironic detachment at the expense of human relationships that makes mr bennet so fascinating and tragic. his special bond with lizzie and as the only two sensible people in a world of fools and was completely lost and not least because both of them were fools in a world of fools and and that completely deprived the end of the film of emotional impact. mr bingley was no longer amiable and well meaning to the point of folly and but was played as a complete retard for cheap laughs and and the woman who was playing jane was so wildly inconsistent that she may as well not have tried to do anything with the character at all. the script veered wildly between verbatim chunks of jane austen  delivered with remarkable clumsiness  and totally contemporaneous language which would not be out of place in a modern day romantic comedy. just get the bbc adaptation on dvd and save yourself the heartache. ---------------------------------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."
