Tag definitions: inverted_howcatchem: The audience sees the killer commit the act up front; the suspense is entirely in the catching. is_life_mosaic: The film renders a life (or lives) as a series of discrete episodes across a long span — whether recalled in reminiscence or moving forward in time-leaps — that deliberately does NOT cohere into a single unitary, goal-driven plot; the structure is the accumulation of a life rather than one continuous arc. Distinct from the standard unitary rise-and-fall biopic. (Wild Strawberries, There Will Be Blood, The Tree of Life, Roma, Amarcord, Boyhood, The Fabelmans) legal_thriller: Thriller plot revolves around the law, courtroom proceedings, investigations, or legal maneuvering, with attorneys, judges, or defendants facing danger or high-stakes verdicts. is_ramsayesque: Resembles the style of works or work of Lynne Ramsay most associated with them in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. is_landisesque_animal_house: Resembles the style of John Landis's Animal House and their other work in that mode, as associated in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. twist_ending_faked_death: A 1) late-film plot development that 2) is felt by the audience as a twist (see our specific definition) and 3) involves upending the film's imagined audience's belief that someone died: the presumed-dead person is alive, with or without their own hand in the faking. For instance, in Diabolique the drowned husband walks. In The Sting the shooting was staged for the mark and for us. In The Illusionist Sophie's murder was the trick's first move. is_fulciesque_dont_torture_a_duckling: Resembles the style of Lucio Fulci's Don't Torture a Duckling and their other work in that mode, as associated in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. is_dassinesque_the_naked_city: Resembles the style of Jules Dassin's The Naked City and their other work in that mode, as associated in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. upper_middle_class_noir_protagonist_unrooted: The noir's protagonist — the primary point-of-view character the film follows most — occupies the comfortable professional or managerial class (doctors, lawyers, architects, professors, executives below the elite, prosperous private practices), and holds that position without rooted membership — first-generation money, married-in, newly arrived, over-leveraged, posing, or otherwise fragile tenure — whether the fragility is narrated as backstory or legible in the present: what they have built or acquired is not securely theirs. A bracket of the mutually-exclusive noir_protagonist_class axis (applied to is_classic_or_neo_noir carriers), judged on the class actually occupied during the film's main timeframe, not aspiration or fate. (Nightmare Alley, Mildred Pierce, Casablanca) is_black_comedy: Comedy that draws humor from grim or transgressive subject matter. is_rohmeresque_my_night_at_mauds: Resembles the style of Éric Rohmer's My Night at Maud's and their other work in that mode, as associated in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. is_kaurismakiesque: Resembles the style of works or work of Aki Kaurismäki most associated with them in the film professor or critic mind. Tag is "fuzzy" at the edges by design, pulling in things that may match on a few elements of directorial style well (film or editing look, dialogue style, storytelling approach, etc) but not others. Each film is associated with multiple directors at a time by design, the existence of tight match does not crowd out a slightly looser one. Candidate tag assignments: 1. Red Dragon (2002) — candidate tag: inverted_howcatchem 2. 84 Charing Cross Road (1987) — candidate tag: is_life_mosaic 3. Vera Drake (2004) — candidate tag: legal_thriller 4. Tomboy (2011) — candidate tag: is_ramsayesque 5. Dude, Where's My Car? (2000) — candidate tag: is_landisesque_animal_house 6. Remo Williams: The Adventure Begins (1985) — candidate tag: twist_ending_faked_death 7. Vidocq (2001) — candidate tag: is_fulciesque_dont_torture_a_duckling 8. Killer's Kiss (1955) — candidate tag: is_dassinesque_the_naked_city 9. Consenting Adults (1992) — candidate tag: upper_middle_class_noir_protagonist_unrooted 10. Return of the Killer Tomatoes (1988) — candidate tag: is_black_comedy 11. Caro diario (1993) — candidate tag: is_rohmeresque_my_night_at_mauds 12. The Brother from Another Planet (1984) — candidate tag: is_kaurismakiesque Judge each item INDEPENDENTLY, in order, from internal knowledge of the film only (no web), at 40% confidence: does the film fit the named tag's definition, in full — including any centrality requirements and exclusions? If you do not know the film, answer N. For each item, first write a line 'Item — <1-2 sentences of analysis>' weighing the question, then on the next line give exactly: . VERDICT: Do this for all items. No other numbered lines.