I am doing this as a university assignment where they ask me to apply a word embedding technique (bag of words, etc) and then use a naïve Bayes/logistic regression/ RNN model to classify the movie reviews into positive or negative sentiments.
I just wanted to ask if I need to remove numbers, )( and ", " and $ ? in my example.
here are a couple of sentences:
note : some may consider portions of the following text to be spoilers . be forewarned . it's startling to consider that it was only a few years ago that film distributors would worriedly rearrange their summer release schedules in order to give the annual disney animated feature juggernaut a wide berth . the lion king had just cracked $300 million domestic in gross to become one of the most profitable ventures in film history , continuing to build on a sturdy base left by prior flicks aladdin and beauty and the beast . since then , though , disney's animated features have shown an unbroken string of diminishing returns , with pocahontas , the hunchback of notre dame , and this year's hercules successively proving less and less potent . with the once seemingly-impregnable disney stranglehold on the market share suddenly looking mighty vulnerable , and faced with their first serious competition in the animated film market from fox's anastasia , disney has brought xmas home early by dusting off the feature which sparked the modern revival of feature animation , the little mermaid . while the animation for the film is , as is typically the case for disney films , unquestionably top-notch , the magic in the little mermaid is not its animation , but the wonderful innocence of its story and its rousingly superb music . the film's storyline is fairly straightforward -- young teen falls for handsome man , father disapproves and assigns hapless chaperone to his daughter , teen disobeys father and goes to desperate lengths to win her man -- except in this case , the chaperone is a crab , the teen is a young mermaid , and the object of her desire is a human prince . what makes the little mermaid so affecting and so emotionally resonant is the richness and charm of its characters and the sheer clarity and honest simplicity of their emotions . from the moment mermaid ariel lays her eyes on prince eric , she's resolutely smitten , and she's such a pure and endearing character that one can't help but invest their heart with her . this simple but touching love story , coupled with a healthy dose of smart humour , makes the little mermaid a remarkably captivating picture . one of the interesting things about the little mermaid is something which now curiously dates it : the voices cast for its motley crew of characters . this film was produced just before the distracting concept of using celebrity voices became in vogue , which started to a certain degree with beauty and the beast and was irrevocably exacerbated by robin williams' much-heralded turn in aladdin ; by the release of the lion king and henceforth , the majority of characters in the animated films were voiced by celebrities . while it's understandable that animated features lacking the name-recognition or drawing power of disney ( say , balto's use of kevin bacon and bridget fonda , or even anastasia's showcasing of meg ryan and john cusack ) would be forced to turn to this strategy in order to hype their products , it's unfortunate that even disney has embraced this policy . do we really need to hear , say , demi moore as esmerelda in the hunchback of notre dame ? is the film's entertainment value really augmented by hearing a recognizable voice , rather than a voice which best suits the role ? ( i'm not exactly on the edge of my seat for eddie murphy in the upcoming mulan . ) fortunately , the performers who voice the characters in the little mermaid , although perhaps more obscure , are impeccably cast . chief among them is jodi benson , a 1992 tony nominee for her stage work in crazy for you , who voices the film's heroine ariel to perfection ; with a wonderfully expressive speaking voice full of youthful vigor , and gorgeous singing voice , ms . benson provides a most engaging anchor for the film . ( she's the only reason i'd even consider catching flubber . ) similarly , samuel e . wright is terrific in the showy role of sebastian , the weary guardian crab . he easily milks his lovable character's comic moments for all they're worth , and his rendering of two of the little mermaid's big tunes -- " under the sea " and " kiss the girl " -- have become the stuff of legend . pat carrol is deliciously villainous and vampy as the evil sea-witch ursula , while kenneth mars' booming voice conveys the stern yet affectionate authority of ariel's father , king triton . in large roles and small ( edie mcclurg as dotting busybody carlotta is ideal , and rene auberjonois has great fun with his exuberant french chef ) , the little mermaid is impeccably cast . of course , the little mermaid will probably be best remembered for its remarkable collection of songs composed by the songwriting team of alan menken ( music ) and howard ashman ( lyrics ) , who had created little shop of horrors and would go on to compose beauty and the beast and aladdin for disney before mr . ashman's untimely death . not only are mr . menken's tunes unbearably catchy , but mr . ashman's charming lyrics are fully integrated into the film's storyline so that the songs are a virtual extension of the character's dialogue , and consequently work wonderfully within the context of the film . mr . menken's score for the film is equally top-notch ; the sequence where eric ( voiced by christopher daniel barnes ) and ariel tour his kingdom in a horse-drawn carriage becomes magical and wondrous with mr . menken's fine score . it appears that most people prefer the delightfully colourful production number for the calypso-styled " under the sea " as joyfully crooned by mr . wright , which won the academy award and golden globe awards for best song -- indeed , one of the many little joys in screening the film during its re-release was listening to children scattered throughout the audience singing along with the tune -- but my favourite is ms . benson's heartfelt rendition of the ballad " part of your world " , an achingly beautiful tune of yearning and hope ( wonderfully lyricized by mr . ashman ) which , accompanied by the film's most dazzlingly polished animation sequence , packs an emotional wallop which literally brought tears to my eyes . during the song's reprise , which builds to a crescendo with ariel arching on a rock as a wave crashes in , the cumulative effect is nothing short of breathtaking , and one becomes acutely aware that this single instance is one of the finest in animation history . as of this writing , november 1997 has come to an end , as has disney's limited 17-day re-release of the little mermaid . there's no question that the primary motivation for , if not the film's reissue itself , at least its timing , was to reinforce disney's dominance in the animation market and provide direct competition to fox's costly new upstart animation division and their first major venture , anastasia . in every respect , the re-release of the little mermaid appears to be a success -- the film's 1997 grosses have pushed its cumulative domestic gross over the magic $100 million mark ; the little mermaid proved to have remarkably strong drawing power for a film initially released only eight years ago and in many homes on video , pulling in close to $10 million in its opening weekend ; and although nobody could possibly expect the little mermaid to possibly defeat the aggressively-marketed anastasia in head-to-head competition , it siphoned enough from the fox film's opening weekend totals to keep anastasia from the coveted weekend leader spot , allowing for disney's odious flubber to sweep in on the subsequent week and wrestle the family demographic market share away . but although disney's motives in the reissue of the little mermaid were self-serving and protectionist , the real winner is the public . any reason to put this film back into theatres is a good one , and it's a true joy to see this heartwarming gem back on the silver screen . the little mermaid is the best film to come out of the disney's modern animation renaissance , and one of the greatest animated films ever made . 1
note : some may consider portions of the following text to be spoilers . be forewarned . among my fanatical ticker tape-worshipping friends , there's one who happens to share the same philosophy espoused by the central character in darren aronofsky's darkly original pi : the entire stock market can be reduced to nothing but a series of patterns which , through analysis , will produce information to accurately forecast future behaviour . ( an example of the mentality involved : if the stock price goes up like this , and then down like that , and then sharply up this way , it then will go * this * way . ) while i freely admit that i know less than nothing about the market ( knowledge check : prices up -- good ; prices down -- bad ; most of the time , at least ) and hence really couldn't comment with any authority , it's always nonetheless struck me as an incredibly naive oversimplification of an astonishingly complex system ( and besides , if it were that simple , no doubt somebody would've already figured it all out ) . the difference in this case is that while my colleague ( an otherwise assuredly realistic individual ) truly believes in this in and of itself as a valid forecaster , pi uses this ideology as a device with which to investigate its character's psychosis . it's also vastly more convincing with its argument . " mathematics is the language of the universe , " insists genius protagonist maximillian cohen ( sean gullette ) in a cool , mantra-like voice-over which repeats throughout the picture . since nature can be expressed in numbers , and there are patterns everywhere in nature , he reasons with eminent logic that finding the patterns will allow him to predict anything -- the ups and downs of the stock market , how many games the yankees will win this year , the flavour of jam i'm going to put on my toast tomorrow morning . obsessed with finding the proverbial key to the universe , max lives in paranoid , self-imposed solitude in a seedy nyc chinatown apartment , single-mindedly toiling away with his monstrous homemade computer system . sullenly withdrawn and plauged by debilitating migraines , the elusive pursuit of a mysterious 216-digit number his machine spits out one day is driving him into madness . the story , then , is basically an eccentricity , but it's a clever , astute eccentricity , perceptively zeroing in on the modern mistrust of mathematical reductionism ; in an age where a dominant societal phobia is one's individualism being replaced by a series of numeric identifiers , max's all-consuming penchent for numbers at once creates a lingering , unsettling mood . it helps matters that he's not a particularly likable protagonist . all attempts of friendliness from neighbours are curtly rebuffed by max , a spindly , neurotic-looking individual who hasn't the time to indulge in pleasantries . for a film which puts its lead character front and center ( mr . gullette appears in virtually every scene ) , pi takes a refreshing and effective approach in avoiding conventional aesthetics ; because of our ambivalence with max , we're not so much avidly rooting for him to triumph with a moment of epiphany as we're following him through this plot with a sense of mixed dread and morbid fascination -- it's more disturbing journey than quest . still , we do care about max's fate . teetering on the edge of dementia , he winds up being pursued by two different groups which want to pick his brain , both fronted by deliciously perky , resolutely cheerful representatives with inevitably duplictious intentions . as we know , in films where paranoia is a dominant element ( see the truman show's laura linney character ) , or for that matter , in real life , it's always the ones who never stop smiling at you and are overly friendly that are the ones of which to be wary . pi , a film that addresses patterns , itself intentionally adheres to an identifiable pattern cycle -- headache scene ; important revelation or bit of plot development ; pill-popping montage ; hallucinatory nightmare ( with decidedly cronenberg-esque undertones -- few other directors are as equally adept in bridging unsettling concepts and body-themed horror ) ; nosebleeding reality . the repetitiveness , far from being tedious , is effectively maddening ; more than anything , the picture aims to get under our skins and take in events from max's claustrophobic perspective . in this regard , it wildly succeeds due to mr . aronofsky's striking direction . it's a rarity that a film so completely immerses itself into a protagonist's warped perspective of his surrounding , and high contrast black-and-white cinematography combined with constant usage of extreme close-ups lend a heightened sense of paranoia to the proceedings . ( in some scenes , the stark composition in conjunction with the lumbering approach by mr . gullette make his character curiously resemble a latter-day max schreck , from nosferatu . ) using savage , jittery lensing and rapid cuts to create a sense of disorientation , the picture is often dizzying to behold , and max's effective isolationism is emphasized by shots from the so-called snorri cam , which keep him in plain focus while the environment races by in blurred bursts . pi's raw , aggressive visuals are reminiscent of david lynch's early work ( in particular , eraserhead ) . the film's sinister tone splashes onto the screen immediately with a dazzling opening credit sequence ably backed by a sly electronic score by clint mansell , and gradually increases in intensity . still , amidst all its kafkaesque qualities and overall dispassionate mood , pi does occasionally display a sense of humour . at one point , marcy dawson ( pamela hart , great fun ) entices max with the offer of an invaluable treasure : a one-of-a-kind . . . computer chip . " isn't it beautiful , " she coos . a showcase for mr . aronofsky's technical virtuosity ( made for $60 000 , it's since gone on to capture acclaim at the 1998 sundance film festival ) , pi is an intriguingly cerebral story which , ironically , is perhaps the most purely visceral film of the year . 1
after applying nltk.word_tokenize(), I still have all these punctuation marks and brackets - " 's", ", ", “.” , ‘(’ and ‘:’.
also would you apply a RNN or LSTM for better accuracy? because these are long sentences and word sequence may matter?
thank you !
I just give suggestion here because I am familiar with TF Keras for vanilla NLP task.
