Sentiment analysis

Link: https://www.rogerebert.com/reviews/mission-impossible---fallout-2018
Great action movies develop a rhythm like no other genre. Think of the
way the stunts in “Mad Max: Fury Road” become a part of the storytelling.
Think of how “Die Hard” flows so smoothly from scene to scene, making
us feel like we’re right there with John McClane. Think of the dazzling
editing of “Baby Driver” and the way it incorporates sound design, music,
and action into a seamless fabric that’s toe-tapping. It’s obviously
incredible praise to say that “Mission: Impossible – Fallout” reminds me
of these films. It’s got that finely-tuned, perfect blend of every technical
element that it takes to make a great action film, all in service of a fantastic
script and anchored by great action performances to not just work within
the genre but to transcend it. This is one of the best movies of the year.
For the first time in this franchise, director Christopher McQuarrie
has made what is basically a direct sequel to the previous film,
“Mission: Impossible – Rogue Nation.” Wasting absolutely no time,
“Fallout” drops viewers into the narrative, getting the important
details out of the way so the action can get started. So many action
movies spend forever with monologuing villains and extensive set-
ups. But there’s no fat on this movie, even early on, where action so
often takes too long to get to the “good stuff,” and definitely not late
when the movie is intense enough to leave you exhausted.
A group called the Apostles wants to create chaos. That’s really all
you need to know. They have a belief that suffering leads to peace,
and so it’s time to unleash the pain. They have been working with
someone clearly on the inside at IMF code-named John Lark and
have conspired to obtain weapons-grade plutonium to create three
dirty bombs. Ethan Hunt (Tom Cruise) has to get the plutonium
back, but there’s a ghost haunting him in the form of Solomon Lane
(Sean Harris), the villain from the last film who Hunt left alive
instead of killing. The head of the Syndicate has been passed around
intelligence agencies, looking for information on the IMF Agent-
killing group, but he’s also a part of this new plot to end the world.
As the movie opens, Hunt is tasked by his boss Alan Hunley (Alec
Baldwin) to go to Paris to find John Lark before he buys the
plutonium. He is handed a sidekick by Alan’s superior Erica Sloan
(Angela Bassett) in the form of the brutish August Walker (Henry
Cavill). Sloan isn’t sure she trusts Hunt or Hunley, and so wants one
of her own men on the crucial mission, someone she knows will do
whatever it takes to complete the mission. There’s a thematic
undercurrent through “Fallout” as to how much one should be
willing to sacrifice for the greater good—the classic spy
flick question of killing someone you love to save the lives of
millions you don’t (it’s the action movie equivalent of “The Trolley
Problem”). The implication is that Hunt is too protective of those he
loves, while Walker loves no one, and the movie vacillates in
fascinating ways as to which modus operandi is better for a super-
spy. Hunt is even described as the ‘scalpel’ to Walker’s ‘hammer.’
This dynamic duo heads to Paris—and are joined before long by
familiar faces like Luther (Ving Rhames), Benji (Simon Pegg) and
Ilsa (Rebecca Ferguson)—and, well, things get deadly fast. “Fallout”
is one of those excellent action movies that works whether you pay
attention to the plot or not. It is one of the most streamlined and
fast-paced films in Hollywood history, moving from one set piece to
the next. Don’t worry. There’s a plot. And it’s actually an interesting
one that feels both timeless and current in the way that it plays with
loyalty and identity. But McQuarrie and Cruise are keenly aware
that they can’t lean too heavily on the plot or people will lose
interest. We don’t need speeches. And so the dramatic stakes of the
set-up are pretty much enough. Nuclear bombs, a double agent or
two, a homicidal mastermind—now go!
And, man, does “Fallout” go. Roughly seven of the ten best action
sequences of the year will be from this film. There’s a wonderful
diversity in action styles too from a skydiving nightmare to a car
chase to, of course, a “Run Tom!” scene to the already-famous
helicopter sequence. All of them feature an intensity of movement
that we hardly see in action movies anymore. Critics have already
compared the film to “Fury Road” and I think that’s why—the
fluidity of motion that you see in both films. The great
cinematographer Rob Hardy (“Annihilation”) and editor Eddie
Hamilton (who did the last movie as well) have refined the action
here with McQuarrie in such a perfect way. We rarely lose the
geography of scenes—which is so common in bad action—and often
feel like we’re falling, speeding, or running with Hunt. The audience
I saw it with was gasping and nervously laughing with each heart-
racing sequence. See this one with a crowd. And as big as you can
(some of the footage was shot in IMAX, and it’s worth the
upcharge).

First step: I pre-processed the text, i.e. cleaned the text from unnecessary
symbols, signs, stop-words and repeated words to simplify the analysis of
this text. So, I got the following result:

Great action movies develop rhythm like other genre Think way stunts
Mad Fury Road become part storytelling Die Hard flows smoothly scene
making feel right dazzling editing Baby Driver incorporates sound design
music seamless fabric toe-tapping obviously incredible praise say Mission
Impossible Fallout reminds films got finely-tuned perfect blend every
technical element takes service fantastic script anchored performances
work transcend best year
Franchise director Christopher McQuarrie made direct film Rogue
Nation Wasting drops viewers narrative, getting important details
can started spend forever monologuing villains extensive set-ups fat
early often good stuff definitely late intense enough leave exhausted
group called Apostles chaos need belief suffering leads peace
unleash pain clearly inside IMF code-named John Lark conspired
obtain weapons-grade plutonium dirty bombs Ethan Hunt Tom
Cruise ghost haunting him in the form of Solomon Lane (Sean
Harris villain alive instead killing head Syndicate passed
intelligence agencies information plot world
opens boss Paris buys handed sidekick superior Erica Sloan Angela
Bassett brutish thematic undercurrent willing sacrifice greater
classic spy flick save equivalent implication protective vacillates
fascinating modus operandi super-spy described
dynamic familiar faces like deadly fast excellent streamlined fast-
paced worry interesting timeless loyalty identity keenly aware lean
heavily lose interest speeches dramatic stakes set-up pretty Nuclear
homicidal mastermind
sequences wonderful diversity skydiving nightmare chase course
already-famous helicopter intensity Critics compared fluidity
cinematographer refined rarely geography falling speeding running
heart-racing crowd footage shot worth upcharge

In the next step, I labelled the sentiments, i.e. assigned a positive,

negative or neutral meaning to each word.

Great action movies develop rhythm like other genre Think way stunts
Mad Fury Road become part storytelling Die Hard flows smoothly scene
making feel right dazzling editing Baby Driver incorporates sound design
music seamless fabric toe-tapping obviously incredible praise say Mission
Impossible Fallout reminds films got finely-tuned perfect blend every
technical element takes service fantastic script anchored performances
work transcend best year
Franchise director Christopher McQuarrie made direct film Rogue
Nation Wasting drops viewers narrative, getting important details
can started spend forever monologuing villains extensive set-ups fat
early often good stuff definitely late intense enough leave exhausted
group called Apostles chaos need belief suffering leads peace
unleash pain clearly inside IMF code-named John Lark conspired
obtain weapons-grade plutonium dirty bombs Ethan Hunt Tom
Cruise ghost haunting him in the form of Solomon Lane (Sean
Harris alive instead killing head Syndicate passed intelligence
agencies information plot world
opens boss Paris buys handed sidekick superior Erica Sloan Angela
Bassett brutish thematic undercurrent willing sacrifice greater
classic spy flick save equivalent implication protective vacillates
fascinating modus operandi super-spy described
dynamic familiar faces like deadly fast excellent streamlined fast-
paced worry interesting timeless loyalty identity keenly aware lean
heavily lose interest speeches dramatic stakes set-up pretty Nuclear
homicidal mastermind
sequences wonderful diversity skydiving nightmare chase course
already-famous helicopter intensity Critics compared fluidity
cinematographer refined rarely geography falling speeding running
heart-racing crowd footage shot worth upcharge
So, we got this results:
Positive - 34
Negative – 20
Neutral - 27
The tone of our text can be determined by the following formula:
T = P/N

Let's take a look at our result:

T = 34/20 = 1,7 – we have positive review.

So, after I've done the manual analysis, I'll check whether my results
agree with the machine analysis:
Monkeylearn

Clientzen
 Sentigem

Conclusion:

The review of the film “Mission: Impossible – Fallout” contains positive

praise and neutral observations. Programmes such as Sentigem and
Monkeylearn consider the text positive, while Clientzen is neutral.

The film is praised for its thrilling action scenes, comparing them to well-
known films such as “Mad Max: Fury Road” and “Bloodline”. The
technical skill and the rise of the action genre stand out. However, the
description of the plot, characters and thematic conflicts is neutral, looking
at the direct approach to the narrative and the thematic dilemmas of the
characters.

The review is balanced in its admiration for the action scenes and neutral
in its description of other aspects of the film. Different sentiment analysis
programs reveal different views on the overall sentiment of the review,
some revealing positivity while others show neutrality based on the
language used. But I still consider this text to be positive, as there are more
such words.