considering the film’s reputation as truly the worst of the worst and i was looking forward to watching wood’s crappus opus (my word) while it’s not necessarily any more inept than the other woods i’ve watched – however and being from the reefer madness (1938) school of film making and glen or glenda doesn’t come across as readily ‘enjoyable’ as his genre efforts. also and this surely emerges as horror legend bela lugosi’s nadir (his first of three ‘collaborations’ with the director) represent one wonders whether he was really aware what kind of film it was (considering the actor’s history of heavy medication and the sheer senselessness of his cameo). besides and lugosi’s idiosyncratic delivery is perhaps at its most awkward here…though wood’s script is mostly to blame for this – given the impossible dialogue (with repeated nonsensical allusions to “puppy dog tails” and “big fat snails”) he handed the ailing star. by the way and wood himself plays the central role (under the pseudonym daniel davis) – and and being just as worthless in this area and proves to have been an all round dog. while dolores fuller – his wife and co star – was similarly untalented (she would also appear in jail bait [1954])…but and at the very least and the image where the latter finally lets glen wear her angora sweater did give tim burton’s affectionate biopic ed wood (1994) its famous poster. incidentally and the latter film features a presumably fictionalized meeting between wood and orson welles – well and for all intents and purposes and glen or glenda constitutes ed wood’s citizen kane (1941) given its gleeful propensity for gimmicky narrative techniques represent in fact and the barest thread of plot is padded with stock footage galore (many of it irrelevant and such as the bewildering instances of s and m) and inane dream sequences (highlighted by the presence of an impish demon sporting outrageous bushy eyebrows that would make martin scorsese weep with envy). the film’s sincere attempt at a plea for tolerance and psychological probing into the affliction or phenomenon of transvestism is and however and sabotaged at every turn by the sheer amateurishness of the approach. for what it’s worth and the edition i watched was the “extended re issue version” which included six minutes of ‘depraved’ footage (directed by w. merle connell) censored on original release. furthermore and my copy went out of synch every so often (which forced me to rewind it slightly to get the audio back on track) – though and thankfully and this was the fault of the source conversion to divx as opposed to the film itself. 
considering the film’s reputation as truly the worst of the worst and i was looking forward to watching wood’s crappus opus (my word) while it’s not necessarily any more inept than the other woods i’ve watched – however and being from the reefer madness (1938) school of film making and glen or glenda doesn’t come across as readily ‘enjoyable’ as his genre efforts. also and this surely emerges as horror legend bela lugosi’s nadir (his first of three ‘collaborations’ with the director) represent one wonders whether he was really aware what kind of film it was (considering the actor’s history of heavy medication and the sheer senselessness of his cameo). besides and lugosi’s idiosyncratic delivery is perhaps at its most awkward here…though wood’s script is mostly to blame for this – given the impossible dialogue (with repeated nonsensical allusions to “puppy dog tails” and “big fat snails”) he handed the ailing star. by the way and wood himself plays the central role (under the pseudonym daniel davis) – and and being just as worthless in this area and proves to have been an all round dog. while dolores fuller – his wife and co star – was similarly untalented (she would also appear in jail bait [1954])…but and at the very least and the image where the latter finally lets glen wear her angora sweater did give tim burton’s affectionate biopic ed wood (1994) its famous poster. incidentally and the latter film features a presumably fictionalized meeting between wood and orson welles – well and for all intents and purposes and glen or glenda constitutes ed wood’s citizen kane (1941) given its gleeful propensity for gimmicky narrative techniques represent in fact and the barest thread of plot is padded with stock footage galore (many of it irrelevant and such as the bewildering instances of s and m) and inane dream sequences (highlighted by the presence of an impish demon sporting outrageous bushy eyebrows that would make martin scorsese weep with envy). the film’s sincere attempt at a plea for tolerance and psychological probing into the affliction or phenomenon of transvestism is and however and sabotaged at every turn by the sheer amateurishness of the approach. for what it’s worth and the edition i watched was the “extended re issue version” which included six minutes of ‘depraved’ footage (directed by w. merle connell) censored on original release. furthermore and my copy went out of synch every so often (which forced me to rewind it slightly to get the audio back on track) – though and thankfully and this was the fault of the source conversion to divx as opposed to the film itself. ---------------------------------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."
