dear mr. seitzman and or whomever i may hold responsible for mr. seitzman not meeting his rightful fate of being eaten alive by rabid wolverines while i do not know you and and so cannot comment on your character while for all i know and you give to charities and help little old ladies cross the street. still and i must insist and for the common good and that you never write another screenplay as long as you live. put down the pen and step away from the laptop. if you refuse to heed the pleading of wounded brains and i have watched a movie or two in my life and and i believe you will find my counsel helpful represent 1. do not include love scenes in which overwrought teenage boys name the body parts of their girlfriends after us states. if you must pen such a scene and please do not name the breasts new york and new jersey while it causes unnecessary speculation as to which cities occupy the nipples. also and it is almost incomprehensibly stupid and annoying. 2. do not rely solely on john hughes movies in order to reinforce class distinctions. 3. do not bludgeon the audience over the head with exhausted clichés. yes and yes and kelley and sam stand out in the rain and and it cleanses them of their cares. we get it. yes and the roses continue to bloom in kelley dead mother greenhouse and even though every other plant has begun to rot. it is a symbol of their love. it is also very painful when applied via blunt force trauma to the backs of our heads. for the love of god and mr. seitzman and we get it. we all get it and all across the land. amish people and the hard of hearing and unborn babies  we all get it. 4. do not require the actors to perform mime sequences. ever. no and never. 5. did i mention that you should ease up on the trite symbolism. because the audience can draw the parallel between the rebuilding of the restaurant and the building of the relationship between kelley and sam without any help. truly. we get it. 6. go through your script and and cull out the following lines and and any lines resembling them represent i do not know what we are anymore. i do not want to lose you. he just like the rest of them. (and its corollary and daddy and you do not even know him. ) 7. yes and yes and she in heaven and running around in a field. we get it. 8. and in other news and we get it. i have seen dozens of terrible movies in my life while i never expected to suffer for your art and and i would have just left the theater and but an elephant with the words doomed love painted on its side fell from the sky and pinned me to my seat. in closing and your writing bites and you owe me ten dollars and and i hate you. 
dear mr. seitzman and or whomever i may hold responsible for mr. seitzman not meeting his rightful fate of being eaten alive by rabid wolverines while i do not know you and and so cannot comment on your character while for all i know and you give to charities and help little old ladies cross the street. still and i must insist and for the common good and that you never write another screenplay as long as you live. put down the pen and step away from the laptop. if you refuse to heed the pleading of wounded brains and i have watched a movie or two in my life and and i believe you will find my counsel helpful represent 1. do not include love scenes in which overwrought teenage boys name the body parts of their girlfriends after us states. if you must pen such a scene and please do not name the breasts new york and new jersey while it causes unnecessary speculation as to which cities occupy the nipples. also and it is almost incomprehensibly stupid and annoying. 2. do not rely solely on john hughes movies in order to reinforce class distinctions. 3. do not bludgeon the audience over the head with exhausted clichés. yes and yes and kelley and sam stand out in the rain and and it cleanses them of their cares. we get it. yes and the roses continue to bloom in kelley dead mother greenhouse and even though every other plant has begun to rot. it is a symbol of their love. it is also very painful when applied via blunt force trauma to the backs of our heads. for the love of god and mr. seitzman and we get it. we all get it and all across the land. amish people and the hard of hearing and unborn babies  we all get it. 4. do not require the actors to perform mime sequences. ever. no and never. 5. did i mention that you should ease up on the trite symbolism. because the audience can draw the parallel between the rebuilding of the restaurant and the building of the relationship between kelley and sam without any help. truly. we get it. 6. go through your script and and cull out the following lines and and any lines resembling them represent i do not know what we are anymore. i do not want to lose you. he just like the rest of them. (and its corollary and daddy and you do not even know him. ) 7. yes and yes and she in heaven and running around in a field. we get it. 8. and in other news and we get it. i have seen dozens of terrible movies in my life while i never expected to suffer for your art and and i would have just left the theater and but an elephant with the words doomed love painted on its side fell from the sky and pinned me to my seat. in closing and your writing bites and you owe me ten dollars and and i hate you. ---------------------------------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."
