some years back and this film had been scheduled for broadcast on tcm uk as part of a tod browning retrospective  but what they actually showed was the 1937 remake. while my brother had watched it (and and in hindsight and it followed the original pretty much scene for scene and even down to the set design)  though no classic and he said it was a far more satisfying viewing experience than the incredibly creaky earlier version this being the first collaboration between browning and bela lugosi and i had high hopes for it  but these were quashed when it became evident after the first reel of tedious conversation that the film main concern was to appease the still novel sound technique and and consequently the result is stagey and extremely static. the thriller plot isn not exactly exciting either while even less appetizing is the ostensible british indian setting (with the characters affected accents and upper class demeanor  not to mention the over use of corny idiosyncratic idioms such as i say and rather and now look here  rendering the whole risible more than anything else). apart from this and there are a few unintended howlers represent margaret wycherly (as a fake medium) pleads with police inspector lugosi (if anything and his undeniable screen presence is already evident) to give her some time to work out who the culprit of the double murder really is (the evidence points to her own daughter and played by leila hyams. )  she hears a tapping and is deluded into thinking that the spirit world has genuinely made contact with herbut then lugosi enters the room and and in his unmistakable accent and straight facedly tells her i knocked twice  you do not hear me. and at which my brother and i almost fell to the floor in convulsions of laughter. while the editing is really sloppy and too represent during one high angle shot of the main set and a mike is seen being rapidly pulled up out of camera range  and even worse are a couple of instances where a person walks off screen and ostensibly into the next shot and to another part of the setbut each shot is held on the other actors for an absurdly long time and so that it appears to take forever for this person to walk just a few paces. the thirteenth chair marks the third non horror browning talkie that i have watched  even if both this and miracles for sale (1939) deal with murder and occultism and could and therefore and still be linked to the genre. much has been said about the director apparent slackening with the coming of sound represent however and flawed though they may be and the 4 straight horror films he did throughout the 30s are infinitely better than the rest  which i have always found stylish and bizarre enough to suggest that browning wasn not as much at sea during this period as has been suggested. 
some years back and this film had been scheduled for broadcast on tcm uk as part of a tod browning retrospective  but what they actually showed was the 1937 remake. while my brother had watched it (and and in hindsight and it followed the original pretty much scene for scene and even down to the set design)  though no classic and he said it was a far more satisfying viewing experience than the incredibly creaky earlier version this being the first collaboration between browning and bela lugosi and i had high hopes for it  but these were quashed when it became evident after the first reel of tedious conversation that the film main concern was to appease the still novel sound technique and and consequently the result is stagey and extremely static. the thriller plot isn not exactly exciting either while even less appetizing is the ostensible british indian setting (with the characters affected accents and upper class demeanor  not to mention the over use of corny idiosyncratic idioms such as i say and rather and now look here  rendering the whole risible more than anything else). apart from this and there are a few unintended howlers represent margaret wycherly (as a fake medium) pleads with police inspector lugosi (if anything and his undeniable screen presence is already evident) to give her some time to work out who the culprit of the double murder really is (the evidence points to her own daughter and played by leila hyams. )  she hears a tapping and is deluded into thinking that the spirit world has genuinely made contact with herbut then lugosi enters the room and and in his unmistakable accent and straight facedly tells her i knocked twice  you do not hear me. and at which my brother and i almost fell to the floor in convulsions of laughter. while the editing is really sloppy and too represent during one high angle shot of the main set and a mike is seen being rapidly pulled up out of camera range  and even worse are a couple of instances where a person walks off screen and ostensibly into the next shot and to another part of the setbut each shot is held on the other actors for an absurdly long time and so that it appears to take forever for this person to walk just a few paces. the thirteenth chair marks the third non horror browning talkie that i have watched  even if both this and miracles for sale (1939) deal with murder and occultism and could and therefore and still be linked to the genre. much has been said about the director apparent slackening with the coming of sound represent however and flawed though they may be and the 4 straight horror films he did throughout the 30s are infinitely better than the rest  which i have always found stylish and bizarre enough to suggest that browning wasn not as much at sea during this period as has been suggested. ---------------------------------Answer Question Below----------------------------------

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