the quality youre likely to remember after viewing the big knife is how claustrophobic it is. it pacing is sacrificed to a uniform texture of dialog. it talky in the extreme. modern viewers will feel every point has been made (and then some) but the movie will still not move on and or do the viewer a favor and change the scenery. it very inert. at the 45 min mark i was sure i had watched two very slow hours. my beleaguered response was and good god and where is this going. it feels like odets was paid by the word. this is a good place to note the decline of drama from it high point in the 40s through the conceit laden projects of the 50s and 60s until actual filmic merit was rediscovered in the 70s and only to vanish again. here we get show offy and conventional and emotional outbursts from steiger and lupino et al. and camera moves pre arranged to meet over practiced blocking. this is due to the rise of the method while the regrettable trend of sacrificing every other merit of film and to grant actors their most selfish wishes. great acting and ho hum and has killed thought in movies. jack palance forehead and pompadour retract and thrust forward every time he reacts to something. it disturbing. this is awfully boring stuff. 
the quality youre likely to remember after viewing the big knife is how claustrophobic it is. it pacing is sacrificed to a uniform texture of dialog. it talky in the extreme. modern viewers will feel every point has been made (and then some) but the movie will still not move on and or do the viewer a favor and change the scenery. it very inert. at the 45 min mark i was sure i had watched two very slow hours. my beleaguered response was and good god and where is this going. it feels like odets was paid by the word. this is a good place to note the decline of drama from it high point in the 40s through the conceit laden projects of the 50s and 60s until actual filmic merit was rediscovered in the 70s and only to vanish again. here we get show offy and conventional and emotional outbursts from steiger and lupino et al. and camera moves pre arranged to meet over practiced blocking. this is due to the rise of the method while the regrettable trend of sacrificing every other merit of film and to grant actors their most selfish wishes. great acting and ho hum and has killed thought in movies. jack palance forehead and pompadour retract and thrust forward every time he reacts to something. it disturbing. this is awfully boring stuff. ---------------------------------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."
