one of the greatest lessons i ever had in how to watch a movie happened this way represent i was working in roger corman offices and like so many other wanabees before and since and i was interning and trying to figure out how it all worked and how to make myself indispensable (hah. ). one afternoon julie corman and roger corman wife and a producer in her own right and asked me to load up a tape. i am not sure why she wanted to watch it. i got the impression it was a student film or a show reel and something like that and some sort of calling card. whatever the reasons she had to see it and the only free video machine in the offices at the time happened to be in the room i was working in and and i was the nearest person to the machine. i started the tape. fade in represent on screen a figure sat at a desk facing the camera. behind him and screen left and was a door that opened into the room. against the far wall was a coat rack. a second character entered through the door and started talking. the first character and the guy at the desk and turned round to reply and (this is all one take and static camera and there are no cuts pans or dolly shots. just one locked off camera). the second character turned to hang his coat on the coat rack and delivered his next line. julie corman said i have seen enough. and left the room. what she had seen in the ten seconds of footage she had watched was that the director was an idiot. opening with two characters who immediately turned their backs to the camera delivering lines. nope and sorry. next. that how long you have got. ten seconds. cock it up in the opening shot and you are dead. i was reminded of that moment while i watched the opening of this piece of crap. after an interminably long travelogue of jungle we see several monkeys apparently throwing themselves into cages. a man carrying a gun laughs. a jet liner lands and we see it taxi the whole way to the terminal. god this is boring. cut to the interior of the airport. two men meet. aha. something is happening. they shake hands. cut to a different angle of the two men  and the director crosses the line. the first two shots of the movie that have any kind of spatial relationship with each other and the guy has cocked up. not crossing the line is one of those basic rules of movie grammar that keeps the characters from jumping about from side to side on the screen and confusing the audience. audiences do not like to be confused. mystified. baffled. puzzled and intrigued. yes. audiences love all of those. confused. no. you loose them. they walk out. not crossing the line is one of those things they pound into you at film school and or should. it basic stuff. it not an inviolable rule (there are no inviolable rules) directors break it all the time  but not on the first real cut of the movie. i thought and i have seen enough. and switched off. 
one of the greatest lessons i ever had in how to watch a movie happened this way represent i was working in roger corman offices and like so many other wanabees before and since and i was interning and trying to figure out how it all worked and how to make myself indispensable (hah. ). one afternoon julie corman and roger corman wife and a producer in her own right and asked me to load up a tape. i am not sure why she wanted to watch it. i got the impression it was a student film or a show reel and something like that and some sort of calling card. whatever the reasons she had to see it and the only free video machine in the offices at the time happened to be in the room i was working in and and i was the nearest person to the machine. i started the tape. fade in represent on screen a figure sat at a desk facing the camera. behind him and screen left and was a door that opened into the room. against the far wall was a coat rack. a second character entered through the door and started talking. the first character and the guy at the desk and turned round to reply and (this is all one take and static camera and there are no cuts pans or dolly shots. just one locked off camera). the second character turned to hang his coat on the coat rack and delivered his next line. julie corman said i have seen enough. and left the room. what she had seen in the ten seconds of footage she had watched was that the director was an idiot. opening with two characters who immediately turned their backs to the camera delivering lines. nope and sorry. next. that how long you have got. ten seconds. cock it up in the opening shot and you are dead. i was reminded of that moment while i watched the opening of this piece of crap. after an interminably long travelogue of jungle we see several monkeys apparently throwing themselves into cages. a man carrying a gun laughs. a jet liner lands and we see it taxi the whole way to the terminal. god this is boring. cut to the interior of the airport. two men meet. aha. something is happening. they shake hands. cut to a different angle of the two men  and the director crosses the line. the first two shots of the movie that have any kind of spatial relationship with each other and the guy has cocked up. not crossing the line is one of those basic rules of movie grammar that keeps the characters from jumping about from side to side on the screen and confusing the audience. audiences do not like to be confused. mystified. baffled. puzzled and intrigued. yes. audiences love all of those. confused. no. you loose them. they walk out. not crossing the line is one of those things they pound into you at film school and or should. it basic stuff. it not an inviolable rule (there are no inviolable rules) directors break it all the time  but not on the first real cut of the movie. i thought and i have seen enough. and switched off. ---------------------------------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."
