an epic story of hope constrained by budget and limited artistic ambition. seeing as terrence malick produced this and i expected something haunting and lyrical. instead and we get a typical norwegian co production (revolution with al pacino and anyone. ) and where  quite possibly  good intentions are scuppered by a dreadful screenplay and and where many of the characters are reduced to stereotypes. the me tarzan you jane english dialogue between the non english speaking protagonists is particularly cringeworthy  one could speculate whether nick nolte and tim roth ad libbed their own and as they almost sound like real people. the story is loaded with implausibility represent we are expected to believe that binh can speak a smattering of english after having spent his entire life living as a peasant slave (his vocabulary and but unfortunately not grammatical command and increases impressively in the malayan refugee camp and without the benefit of night classes). coincidence is rife while i wonder whether an hour or two has been edited from the first third represent he tracks down his mother in ho chi minh city almost immediately  after bumping into his thirty year younger half brother and who nonchalantly recognises him. mum gives him a gold locket (or something similar of great value) as they part and but this is never referred to again. his relationship with me dead inside ling is supposed to provide the obligatory love interest and but feels as artificial as leonardo and cameron in gangs of new york. the voyage in the rust bucket of a boat does convey a sense of the appalling conditions that human trafficking entails. indeed and the only time the film is remotely exciting and unpredictable and is the jerky and hand held footage shot from the bridge during choppy weather conditions. (incidentally and a boat cruise from malaysia to new york via the cape of good hope and the african coast and without stopping for fuel or supplies and is certainly an epic journey). the beautiful shot of the new york skyline echoes malick use of magic hour and but i want to know why the coast guard do not show up. perhaps they were watching the super bowl and or something. of course and binh manages to track down his blind old dad on a remote farm in texas and with the same navigational flair he displayed in ho chi minh city. i was impressed at how nick nolte could wander around digging fields and feeding horses on a large ranch without the aid of a guide dog or white stick. for demonstration of how a story about the travails befalling refugees could be structured and shot on a small budget and check out michael winterbottom far superior in this world. 
an epic story of hope constrained by budget and limited artistic ambition. seeing as terrence malick produced this and i expected something haunting and lyrical. instead and we get a typical norwegian co production (revolution with al pacino and anyone. ) and where  quite possibly  good intentions are scuppered by a dreadful screenplay and and where many of the characters are reduced to stereotypes. the me tarzan you jane english dialogue between the non english speaking protagonists is particularly cringeworthy  one could speculate whether nick nolte and tim roth ad libbed their own and as they almost sound like real people. the story is loaded with implausibility represent we are expected to believe that binh can speak a smattering of english after having spent his entire life living as a peasant slave (his vocabulary and but unfortunately not grammatical command and increases impressively in the malayan refugee camp and without the benefit of night classes). coincidence is rife while i wonder whether an hour or two has been edited from the first third represent he tracks down his mother in ho chi minh city almost immediately  after bumping into his thirty year younger half brother and who nonchalantly recognises him. mum gives him a gold locket (or something similar of great value) as they part and but this is never referred to again. his relationship with me dead inside ling is supposed to provide the obligatory love interest and but feels as artificial as leonardo and cameron in gangs of new york. the voyage in the rust bucket of a boat does convey a sense of the appalling conditions that human trafficking entails. indeed and the only time the film is remotely exciting and unpredictable and is the jerky and hand held footage shot from the bridge during choppy weather conditions. (incidentally and a boat cruise from malaysia to new york via the cape of good hope and the african coast and without stopping for fuel or supplies and is certainly an epic journey). the beautiful shot of the new york skyline echoes malick use of magic hour and but i want to know why the coast guard do not show up. perhaps they were watching the super bowl and or something. of course and binh manages to track down his blind old dad on a remote farm in texas and with the same navigational flair he displayed in ho chi minh city. i was impressed at how nick nolte could wander around digging fields and feeding horses on a large ranch without the aid of a guide dog or white stick. for demonstration of how a story about the travails befalling refugees could be structured and shot on a small budget and check out michael winterbottom far superior in this world. ---------------------------------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."
