Write a one sentence review of the movie "harry potter and the half blood prince".

Dark, thrilling, and occasionally quite funny, Harry Potter and the Half-Blood Prince is also visually stunning and emotionally satisfying.


Write a one sentence review of the movie "white chicks".

Scattershot comedy that's silly and obvious.


1. This is the movie for people who like blood, violence and topless women.
2. You can't underestimate the vitality of a movie where manly men give orders such as, "We will cast our rivals into oceans of blood."
3. The very definition of the dumb summer flick, designed to squeeze a few last bucks out of the kids before school starts up again.
4. Momoa ... speaks in one of those trying-too-hard baritones heard in young jocks whose greatest fear is being called gay.
5. It's just another ham-handed adventure flick in eye-deadening, wallet-draining 3-D.
6. It ain't a pretty sight -- in fact, it's downright barbaric.
7. Usually when a movie includes so many interesting parts, it amounts to a pretty good time. However, the result here never gels.
8. Does it satisfy, this tale? In its own modest way, it does.
9. Here's a movie that's simultaneously lavishly violent and numbing, visually ornate and undistinguished, epic and shallow, relentlessly noisy and tone-deaf, workmanlike and unfilling.
10. With a complete lack of self-awareness, this po-faced remake looks more like a trash-TV series (a la Spartacus or Camelot) than a proper movie.
Based on these individual reviews, what is the critic consensus?

While its relentless, gory violence is more faithful to the Robert E. Howard books, Conan the Barbarian forsakes three-dimensional characters, dialogue, and acting in favor of unnecessary 3D effects.


Write a one sentence review of the movie "quiz show".

Robert Redford refracts the sociopolitical and moral issues posed by the subject material through a purely entertaining, well-acted lens.


Write an ordered list of reviews about "martyrs".

1. Martyrs is an unforgettable (not necessarily a good thing) endurance test of a movie that provides a quasi-philosophical spin on the torture porn genre.
2. The stylishly mounted first half zips along at a rate of knots while the gruesome make-up work will keep your gag reflex in violent spasm.
3. Young women are brutalised to a place beyond pain, as part of an eschatological experiment. You really don't need to see this.
4. You may well feel in need of a shower after sitting through Martyrs, a slick essay in Gallic torture porn.
5. Martyrs is a five star example of what modern horror can do, or a one star mugging of all that is decent. Forgive us if we go with the former.
6. 'Martyrs' is initially shocking and strong, but eventually falls apart once we are informed about what the hell is going on.
7. Arthouse? Grindhouse? The Passion Of Joan Of Arc: Unrated Edition? Defying all boundaries, Martyrs relentlessly dishes the visceral pain and emerges as a work of not just ceaseless terror but also gravity and beauty.
8. It will most definitely divide audiences, having already done so all over the world. But Laugier has contributed a brave, brutal and original horror film for all to witness.
9. O inquieto roteiro, que parece mudar sua trama de direзгo a cada 20 minutos, acaba fornecendo uma justificativa narrativa intrigante para toda a pavorosa violкncia que testemunhamos, embasando seu lado gore em uma temбtica metafнsica surpreendente.
10. Despite fancy writing, it's just another gore porn flick, out to shock for the hell of it and designed for loners who attend film festivals.


The critic consesnsus is: Takashi Miike's electric remake of Eiichi Kudo's 1963 period action film is a wild spectacle executed with killer, dizzying panache.. What reviews supported this critic consensus?

1. A richly cathartic experience with a wide range of emotional colors.
2. ... a subversive, action-packed, beautifully crafted samurai revenge epic ... climaxes in a 40-minute pitched battle that utilizes sword, arrow, spear, slingshot and ‒ here's a new one ‒ burning bull.
3. "13 Assassins" has what many action pictures need, a villain who transcends evil and ascends to a realm of barbaric madness.
4. The dialectic about duty may not translate to a modern Western audience, but the savage sword-fighting is to die for.
5. Does Guinness World Records have an entry for longest on-screen fight? If it doesn't, Takashi Miike's "13 Assassins" just set it. And if a record actually exists, Miike's film just broke it.
6. The final 40-plus minutes are bananas.
7. It absolutely, undeniably delivers the goods. And those goods are soaked in blood.
8. The 13th assassin, an uncouth mountain man, offers a critique of his noble companions -- and of the code-of-duty genre he finds himself occupying -- when he comments: 'Do only samurai matter in this world?'
9. ... the main attraction here is the big battle, for both its wild swordplay and the endless variety of clever devices and strategies the samurai come up with to even their odds against [the villains'] overwhelming numeric superiority.
10. 13 Assassins is a savage, insane movie - in the best way possible.


Here are some reviews for a movie: 1. For theater lovers -- on both sides of the footlights.
2. Its appeal isn't likely to cross over to those who don't already have the Broadway bug, or share the recollections themselves.
3. It's the sort of history you could nibble on for hours.
4. Whether it's Julie Harris weeping as she recalls an Ethel Waters performance she saw 60 years ago or Marian Seldes lamenting the cruelty of show biz or Ann Miller blithely carving a decade off her age, there's no arguing that these years were golden.
5. McKay's straightforward cinematic valentine, which also includes rare archival stage footage, is a treat for those bedazzled by the idea of Broadway in its prime.
6. [The subjects] eagerly unwind before McKay's one-man camera, reminiscing about everything from their finest hours to the days when ticket prices still ran in single digits.
7. Old-timers, showbiz buffs and big-stage wanna-bes will not be disappointed.
8. Rather than listen to these old-timers reminisce about the good old days ... my advice is to get out and support your local thespians instead.
9. It takes more than a fan to analyze the legacy of a period. But a fan is just what it takes to indulge in that legacy, which is exactly what Broadway: The Golden Age is all about.
10. I can think of no higher compliment than to report that after seeing it, I wanted to rush out and see a play.

What was the overall consensus about the movie?

Broadway: The Golden Age is a breezy, affectionate tribute to a sparkling array of the era's best and brightest.


Which movie is the following review about?

Renewed purpose to this part two, finding Catching Fire skillfully communicating beats of unrest and despair, locating a way to help the ongoing franchise settle in as an energizing story of an underground uprising.


1. Now we know just what to expect from Coogan and Brydon, although as long as you're willing to settle in for the ride, that's not necessarily a bad thing.
2. Underneath the achingly beautiful surface, a sense of opportunities lost and roads not taken often lurks.
3. At its heart, The Trip to Italy is more than just a travelogue about food. It's about friendship and the appetite for experience we all share.
4. As enjoyable as the first movie was, its follow-up successfully evolves that formula into an equally enjoyable film.
5. The Trip To Italy is a near-perfect sequel once again filled with delectable treats, non-stop laughter, and a slew of impressions that almost outshine the gorgeous plates of 5-Star Italian delicacies.
6. Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
7. [VIDEO ESSAY] Everywhere you look, history keeps rearing its inevitable head for Coogan or Brydon to tickle when they aren't feasting on Italian food and wine. This is a vacation you'll want to go on more than once.
8. After all their decades of comical sparring, Rob Brydon FINALLY makes Steve Coogan crack up on camera
9. The whole thing is a thin and flimsy travelogue but the banter between the pair makes it better and far funnier than it has any right to be.
10. I could watch Brydon and Coogan read the phone book, because they'd make it funny. In fact, watching them eat and riff is not far removed from reading a phone book; and it is very, very funny. A total delight from start to finish.
Based on these individual reviews, what is the critic consensus?

While perhaps not quite as fresh as Coogan and Brydon's original voyage in The Trip, The Trip to Italy still proves a thoroughly agreeable sequel.


1. A very creepy little ditty that works once it rears up to the second half.
2. If you're in the mood for a Saturday afternoon-ish throwback thriller, you could certainly do a hell of a lot worse than this one.
3. All dolls are inherently freaky, but there's something seriously bent about a little wooden man with bulging eyes, shiny cheeks, and perfect chompers.
4. A Nightmare on Dummy St. from Saw creators.
5. "Dead Silence" is not going to reinvent the genre. It's actually a big pile of nonsense, but that doesn't stop it from being fun nonetheless.
6. Plodding and bereft of suspense, "Dead Silence" is an irredeemable jumble of cliché genre fragments.
7. It's awful. It eats your soul, it's so awful.
8. Wan and Whannell have a carnivalesque sense of fun and a sure instinct for recycling classic horror tropes, but their characters are so flat and their plotting so listless that this low-budget feature fails to generate much suspense.
9. For the love of Chucky, avoid this insipid attempt at reviving the killer doll horror.
10. All Wan and Whannell know is shock-and-awe tactics. They may shock, but there's no awe.

What is a brief summary of the following reviews?

More tasteful than recent slasher flicks, but Dead Silence is undone by boring characters, bland dialogue, and an unnecessary and obvious twist ending.


Summarize the following movie reviews:

1. De Niro delivers a frightening vision of frosty criminal efficiency.
2. It is a remarkably powerful, entertaining and invigorating piece of cinema that hits on more levels than seemingly possible.
3. Heat has an impressively strong script by Mann, and he backs it up with gorgeous filmmaking.
4. Boosters and touts use the term 'major movie' so often that it's more likely to generate yawns than excitement at this point. Back to basics. Heat is a major movie. With major stars. Doing major acting.
5. All this adds good weight and tension to the movie and provides a lot of very good actors with the opportunity to do honest, probing work in a context where, typically, less will do.
6. This is the first time De Niro and Pacino have acted together, and each gives a strong, watertight performance.
7. As notable as the cinematography is De Niro's performance, which helps you remember why he became a legend in the first place.
8. ... while the sometimes hard-to-follow script often demands too much of the viewer, this film is one that's truly worth seeing.
9. A slow-moving, overburdened, well-meant and at times quite entertaining slog.
10. The director's signature sleek and romantic aesthetic is reason enough to take a seat for this operatic three-hour marathon.

Though Al Pacino and Robert De Niro share but a handful of screen minutes together, Heat is an engrossing crime drama that draws compelling performances from its stars -- and confirms Michael Mann's mastery of the genre.


Write an ordered list of reviews about "10009460-the road".

1. Mortensen has proven to be one of the best actors in the business, and The Road is his masterpiece.
2. The most arresting aspect of The Road is just how fully the filmmakers have realized this bleak, blighted landscape of a modern society reduced to savagery.
3. This year's entry in the Movies You Admire and Respect but Don't Ever Want to Watch Again Sweepstakes.
4. Hillcoat's noble effort ultimately falls under the category of things much better imagined than seen. Instead of The End of All That Is, this is, well, just a movie.
5. Zombieland was the same movie with laughs, but if you take away the comedy, what is left? Nothing, on a vast scale.
6. I'm not sure if The Road could ever have worked on the big screen, but I am sure that this version could be used to make that case.
7. The Road possesses undeniable sweep and a grim kind of grandeur, but it ultimately plays like a zombie movie with literary pretensions.
8. (T)hanks to Hillcoat's reverence to the source material and his desire to visualize McCarthy's mind's eye Armageddon, we wind up with something so harsh it's almost unbearable.
9. This adaptation of Cormac McCarthy's 2006 Pulitzer Prize-winning novel is intense and, yes, depressing -- and earns every minute that it rattles inside your head.
10. Cormac McCarthy's Pulitzer Prize-winning, Oprah-endorsed, post-apocalyptic survivalist prose poem... was a quick, lacerating read. John Hillcoat's literal adaptation is, by contrast, a long, dull slog.


Which movie is the following review about?

Beats Crouching Tiger, Hidden Dragon at its own game of high-flying huzzah, and with relative ease.


1. 'Warm Bodies' has a lot of fun playing with all of these conventions and the result is a clever, endearing little film that is much better than you would expect it to be.
2. Formulaic in some ways and totally fresh in others
3. There are so many clever lines and bits of physical comedy worth revisiting that the movie seems like a likely cult classic, but it's more inclusive than that.
4. Warm Bodies successfully unearths the "human" in budding relationships - and does it with the not-quite-human.
5. This strangely sentimental twist on the classic 'Romeo and Juliet' tale becomes a charming, paranormal romantic comedy about fantastical, forbidden love.
6. Good luck ascribing a clear satirical agenda to Jonathan Levine's tonally uneven zomcom, which suffers an identity crisis nearly as severe as its protagonist's.
7. Warm Bodies is a love story set against the backdrop of a bleak future world...but ultimately it offers a ray of hope.
8. Romance with a capital R ensues, love conquers all and so on and so forth. It's clichéd (yet makes fun of itself in the process) but cute.
9. It bravely reverses the polarity of an increasingly grim genre.
10. 'Warm Bodies' is beautifully shot, features relatable characters, and a carries a romance that the viewer may actually connect with.

What is a brief summary of the following reviews?

Warm Bodies offers a sweet, well-acted spin on a genre that all too often lives down to its brain-dead protagonists.


Write a one sentence review of the movie "the sessions".

Tender, funny, and touching, The Sessions provides an acting showcase for its talented stars and proves it's possible for Hollywood to produce a grown-up movie about sex.


Write a one sentence review of the movie "cropsey".

Riveting and bone-chillingly creepy, Cropsey manages to be one of the best documentaries and one of the best horror movies of the year.


Write a one sentence review of the movie "roman holiday".

With Audrey Hepburn luminous in her American debut, Roman Holiday is as funny as it is beautiful, and sets the standard for the modern romantic comedy.


1. Australian tale of a holiday gone wrong has a potent, distinctive creepiness.
2. A legendary and controversial Aussie classic, although it's long been available only in poor-quality video releases.
3. Unlike many "lost" treasures, Wake in Fright lives up to its nightmarish reputation.
4. Few films were ever so bright and so dark at once.
5. If you have any interest whatsoever in discovering the true classics of Australian cinema, there are far worse places you could start than with Wake in Fright.
6. Throughout we feel like we are watching a real world, with the extensive use of real locations and real outback dwellers, where none of the professional actors breaks the spell.
7. Shocking, credible and hard to forget.
8. This tale of sun-baked savagery has lost little of its audacity or ferocity while it languished unseen.
9. The raw, sweaty 1971 film is not a pretty portrayal of life in the outback, where men are crude, hard-drinking mates with no ambition beyond rough-house fun...
10. Like the majestic camera movement with which it opens, Wake In Fright is a film that travels in slow, inexorable circles, presenting its paranoid nightmare of entrapment as Kafka down under.
What is the consensus?

A disquieting classic of Australian cinema, Wake in Fright surveys a landscape both sun-drenched and ruthlessly dark.


Which movie is the following review about?

Be prepared for a melancholy denouement that's not suitable for younger children, but which grown-ups and older kids may find heartbreaking.


1. The only good thing about Never Die Alone is its rap-retro soundtrack.
2. This gritty genre piece about four men whose paths intertwine largely overcomes key cast weaknesses to deliver a jazzy, darkly textured rendering of the ghetto pulp of late African-American ex-con author Donald Goines.
3. Routinely but unconvincingly directed by Dickerson, the movie possesses not a single character with the brains to get through a day without creating a huge mess.
4. Never Die Alone discards logic and reason for a farcically overblown orgy of uninhibited sex, drugs and gaudy materialism.
5. Working from a 1974 novel by Donald Goines, the director, Ernest Dickerson, proves he's the rare filmmaker who can show the attraction -- and degradation -- of the criminal life without exploiting it.
6. Scott Fitzgerald might get a laugh from Never Die Alone.
7. It deserves some credit for its ambitions. But those ambitions tip it over into pretentious melodrama that only emphasizes how far short of its aspirations it falls.
8. A hackneyed tale of vengeance set in the 'hood, teeming with stock characters, slo-mo gunplay, and rampant misogyny.
9. Arquette does what he can with his pitiful character. But the longer Paul drifts, the longer we find it hard to believe that he's still alive. In fact, we're kind of sorry he's still alive. The movie would be much better without him.
10. Worse than you could ever imagine.
What is the consensus?

DMX's menacing charisma is put to good use in this stylish but hackneyed modern-day noir.


1. Year One is a good short skit drawn out far, far too long, another big, dumb offering to the summer movie gods that is unlikely to appease or please anyone.
2. The big, blustery physical comedy of Jack Black makes for an amusing fit with Michael Cera's quiet, self-deprecating humour in Year One.
3. Year One has one joke, but it's a good one, played for many variations over the course of an often very funny comedy.
4. Black and Cera posed in cave-man outfits for an amusing poster. Then the movie was brought forth and things went downhill.
5. Stuffed full of comic bits that don't work.
6. [A] sloppy, joke-poor mess of a pre-historical romp.
7. It ambles along uncertainly, hobbled by the lack of chemistry between its two lead actors, and by gags that either try too hard or suffer from being barely there.
8. An inexplicably unfunny comedy made by two people who have proven they can do much better: director/co-writer Harold Ramis and co-producer Judd Apatow.
9. [Harold] Ramis and co-writers Gene Stupnitsky and Lee Eisenberg mostly avoid the easy anachronism jokes, to their credit, but instead they wind up plumbing the depths of poop, fart, urine, foreskin and gay-panic humor.
10. Year One is a horse designed by committee to make a camel, and Harold Ramis, as much as today's comedy stars owe him, is an unadaptable species.

What is a brief summary of the following reviews?

Year One is a poorly executed, slapdash comedy in which the talent both in front of and behind the camera never seem to be on the same page.


1. A very easy film to dismiss but there is more to it than meets the eye.
2. Abrave film for De Palma, obviously deeply felt, but the final scene - a steady collage of real pictures of victims of the conflict - offer a more visceral pull than anything that has gone before.
3. War was ever a Kubrick-ian hell-ride, futile, fundamentally unheroic and de-humanising, but now it's mocked by a mad multimedia accompaniment innocent of all real ethical, moral and humanitarian value.
4. Though the events are gruelingly (and graphically) recreated there's a typical lack of emotional connection which might be forgivable in a thriller but utterly hobbles this supposed cri de coeur. An almost total failure then, but a noble one.
5. De Palma's efforts to make the film seem as 'real' as possible only make it seem even less real when his mock-ups fail to approximate the things he's trying to imitate.
6. Calling the movie anti-soldier misses the despair with which DePalma views the troops' situation.
7. Feels more like a polemic than drama. But at least it hammers home the message that under the right circumstances even the 'good guys' can behave like monsters.
8. De Palma's made a shattering true crime feel phony
9. The film is so artificial that it feels like a mockumentary (i.e. a deranged black comedy), and marks a low point in the career of De Palma.
10. But, no matter what its aesthetic and political virtues, it's hard to imagine anyone wanting to put themselves through the experience of Redacted, particularly those who already `get it.'
What is the consensus?

Despite DePalma's obvious commitment to the material and passion for the issues at hand, Redacted suffers from stereotypical characters and a forced faux-doc style.


Write a one sentence review of the movie "grown ups".

Grown Ups' cast of comedy vets is amiable, but they're let down by flat direction and the scattershot, lowbrow humor of a stunted script.


1. The takeaway from the bickering and paint splatter is that the couple's feisty commitment to one another is an art unto itself.
2. The story of an extraordinary marriage between two people bound together by their artistic impulse.
3. A painful, powerful portrait of the struggle and sacrifice required to create, and the cost that it can demand.
4. The simple approach teases fascinating parallels between art and marriage: essential to both, it seems, are a thick skin and an optimism verging on madness.
5. It's a touching film and a fascinating glimpse into one of those couples you can't quite believe are still together.
6. The film is both touching and funny.
7. Bohemianism and marriage are both for life in this alternately rueful and whimsical documentary about expat Japanese artist couple Ushio and Noriko Shinohara.
8. This doc about a bickering husband-and-wife artist team feels like its drama has been forced by the filmmakers.
9. The most wonderful, paint-splattered love story I've seen...
10. More than anything, the film expresses - at an almost subconscious level - the difficulties of discerning not only what real art is, but also what true love is all about.

What is a brief summary of the following reviews?

A beautifully-made documentary that explores the challenges and richness of both marriage and art through the lens of a fascinating and complex couple.


1. It's a hard ride, and it brings you to places you wish you'd never consented to go, but it's worthwhile.
2. One might conclude that the enormous value of a film like Stevie lies in its ability to take us places we'd probably never go otherwise -- not merely as guilty liberals, but as thinking individuals who want to learn something about the world we inhabit.
3. The road of Stevie is a rough ride, and at 145 minutes, it's a long one. But in an age of so-called reality shows that are no more than hyped entertainment, it is a rewarding if distressing look at flawed but genuine human beings.
4. Stevie is a fascinating, irritating movie, with a portrait of a hopelessly troubled young man at its center.
5. Bring Kleenex.
6. The director allows both lead characters to be seen as failures, remarkable for the fact that he himself is one of them.
7. ["Stevie"] should be watched by any aspiring documentary filmmakers as a standard of excellence.
8. Possibly looking for a personal catharsis, James gets a whole lot of heartbreak, yet still presents an unblinking portrait of a complex personality.
9. In this complex and soulful documentary, Steve James (Hoop Dreams) explores his caring relationship with a troubled young man and in the process reveals that no one can save another person despite good intentions.
10. Some viewers will feel moved to tears of compassion, and others will point to Stevie Fielding as an argument for more barbed wire on the prison walls. But there's no denying this is an important film.
Based on these individual reviews, what is the critic consensus?

Poignant documentary that's hard to forget.


Write an ordered list of reviews about "flags of our fathers".

1. Isn't perfect, but its flaws arise from an attempt to deliver a message about the complicated nature of heroism that's worth hearing in our own time of conflict.
2. It is one of the year's best films and perhaps the finest modern film about World War II.
3. While I found the subject matter interesting, I didn't walk out of the theater thinking, this is a really good movie.
4. Despite a compelling mission for unearthing the exploitative nature of the term "war hero," this picture has limited appeal.
5. Makes its mark in the moments when war is fought man-to-man--when we can see on these young soldiers' faces that home is far, far away.
6. Flags of Our Fathers barely scratches the surface of his story.
7. Despite handsome production values and a worthwhile subject, Flags of Our Fathers ultimately falls victim to the very hero worship it wishes to debunk.
8. Flags of Our Fathers is a truly magnificent film that should not be missed.
9. a fine piece of craftsmanship, well put together and boasting good performances, it's just not as moving as it should be
10. This film seems dangerously close to embracing the same kind of selective storytelling that it condemns.


Write a one sentence review of the movie "agronomist".

A well-made, emotionally engaging documentary about Haitian social activist Jean Dominique.


The critic consesnsus is: The plot is utterly ridiculous, and the soccer in the movie is unlike any ever played anywhere on Earth, but watching Shaolin Soccer, you will probably find it impossible to care.. What reviews supported this critic consensus?

1. Here is a film where even the camera movements and editing are hilarious.
2. While Shaolin Soccer may not wow Western audiences the way it did Asian ones, you should get more than a few kicks out of it.
3. A very traditional underdog sports team story told in a delightfully untraditional style, with whimsy, fantasy, and heart.
4. Shaolin Soccer really loves what it mocks, after all, and that grandly goofy affection -- nay, joy -- for all things chop socky is purely, utterly contagious.
5. It is piffle, yes, but superior piffle.
6. A hoot from beginning to end.
7. Over the top is a tricky thing to pull off effectively. But when it is done as delightfully as it has been done in Shaolin Soccer, you just have to sit back and take in the eye candy.
8. Not an earth-shattering achievement, but not something to miss if you haven't yet met Stephen Chow.
9. For once, maybe Harvey did the right thing by cutting it down.
10. One of the silliest, sweetest and most fun family films in recent memory.


Which movie is the following review about?

A simple yet elegant retelling of a classic children's story that has given pleasure to many for centuries.


Write a one sentence review of the movie "headhunters".

Grisly, twisty, and darkly comic, Headhunters is an exhilaratingly oddball take on familiar thriller elements.


Write an ordered list of reviews about "ghosts of the abyss".

1. If you see only one James Cameron-directed movie about theTitanic -and you should - see the one that doesn't star Kate and Leo.
2. A bit slow-going and strangely emotionless at times. But Bill Paxton's nervous expressions add humor, and the film's jaw-dropping glimpse at the Titanic are powerful, to say the least.
3. James Cameron's latest memorial to the spirit that exists mournfully and sadly in utter silence as the effects of time and salinity slowly and inexorably take their toll.
4. I wouldn't call "Ghosts of the Abyss" a compelling documentary or even an artistic one. It's more like a visit to a museum-in this case, one that's 12,500 feet below the surface.
5. Go and marvel at this spectacular piece of visual history; it's 60 minutes very well spent.
6. This hour-long feature, edited down from 900 hours of footage, is both a technical marvel and a heartfelt memorial to those who died when the ship sank in 1912.
7. What's the point of this documentary?
8. This is a brilliant showcase for IMAX and Cameron who offer an entertaining and fascinating glimpse of history to us all.
9. Despite Paxton's whooping every time a new artefact comes on screen, it's hard to be constantly excited about watching a bunch of rusty, decayed junk -- historic and three-dimensional though it may be.
10. It may not have the organisation of 'art', but it's quite some postcard.


Summarize the following movie reviews:

1. Flushed Away will make you excited about animated movies again. It shows you can still do something with heart and soul even though everyone else is trying to cash in.
2. Charming and often quite funny.
3. ...the almost total lack of substance ensures that most viewers will have an awfully hard time finding much here to embrace...
4. It has Aardman's trademark intricacy of design, thrilling, hair's-breadth-timing of action sequences, mastery of physical properties and spaces, delightful characters, fresh and funny moments and adorable singing slugs.
5. So while Flushed Away is studded with little comic nuggets, it is its story that disappoints.
6. Flushed Away ought to stand as one of the highlights of the season. Let's hope the title isn't a prediction of its future.
7. Deficient in the comedy of reticence discouragement that is Aardman's (or maybe just Nick Park's) unique strength. I don't want to say the Englishmen were corrupted, but I think they allowed their strongest, quirkiest instincts to be tethered.
8. Toilet humour and Aardman characters go together like tar and tea.
9. One of the most outright enjoyable films of the year -- an imaginative and entertaining ride from the very first flush.
10. The film throws just enough lunacy at us to keep things entertaining even when we're not really sure where it's going.

Clever and appealing for both children and adults, Flushed Away marks a successful entry into digital animated features for Aardman Animations.


The critic consesnsus is: The most successful installment in a phenomenally successful series, Lethal Weapon helped redefine action movies for the 1980s and 1990s.. What reviews supported this critic consensus?

1. Yeah, I know, I know: It's considered an action classic and routinely pegged as one of the best "buddy cop" films, but it's always held just marginal appeal for me -- besides, compare it to Die Hard, and its "classic" status seems even more ludicrous.
2. What does it say that I loved it as a boy of fourteen?
3. Thanks to a peculiar chemistry and a terrific script, Mel Gibson and Danny Glover lift this movie above mere TV-cop fodder.
4. Implausibility is a large part of the entertainment in this romp par excellence, with each overblown set piece becoming ever more ludicrous.
5. As action-adventure, it's pointlessly puerile, a movie where the heroes are so childish they try to one-up each other with fancy shots at the pistol range.
6. Nothing, however, can really prepare audiences for the generally good, though offbeat, performances, gritty action and serio-comic exploits of the Good Guys vs. the Bad Guys.
7. At center is the first big, juicy mythic-hero part Gibson has had since Mad Max.
8. [Gibson and Glover] make a great team, and some of their early adventures are exciting. But the film runs out of gas as it turns into an extended chase sequence.
9. The story, which proceeds with inevitability, is enlivened by Donner's rousing action sequences.
10. What this premise needs is a serviceable plot, but screenwriter Shane Block hasn't provided one. Indeed, for an action thriller, Lethal Weapon is unacceptably slow.


1. It can't have been easy for hundreds of actors, technicians and stunt people to show up for work every day to make a movie whose message is, essentially: Don't go see this movie.
2. Untraceable isn't unwatchable, but it's a pretty miserable experience, from a director who knows better.
3. Untraceable really is disgraceable.
4. As plain awful as Untraceable is, possibly the worst thing about it is that it pretends to mean something.
5. In case you didn't catch it, the moral is that each time we indulge our inner voyeur by visiting macabre websites or tuning into salacious tabloid news, we're implicated in the larger cultural crime.
6. Untraceable demonstrates, once again, how unnecessary it is for audiences actually to understand technical jargon.
7. This joyless thriller runs the gamut from unconscionable through unwatchable to unendurable. It's also unfathomable that two talented people, Diane Lane and her director, Gregory Hoblit, got themselves involved in such an unpromising enterprise.
8. Untraceable feels sleazy and gratuitous.
9. ...the picture is grimly unpleasant, and the formulaic conclusion subverts whatever earnest intentions were present at the beginning.
10. Morally duplicitous torture porn: how else to describe Untraceable, a bleak, rain-washed horror thriller.
What is the consensus?

Despite Diane Lane's earnest effort, Untraceable manages to be nothing more than a run-of-the-mill thriller with a hypocritical message.


Which movie is the following review about?

The ultimate cult flick.


1. An immensely entertaining and at times moving story.
2. Witty, gruesome, and artful fun.
3. I didn't get most of it, or like all of it, but at least it came in less than two volumes.
4. [Kitano] captures almost perfectly the flavor of the decades-old films while simultaneously presenting something entirely new and entirely entertaining.
5. Zatoichi himself is a remarkable creation. With his dry laugh and cocked head, Kitano makes him a kind of clown -- an ideal choice for a film so concerned with fun, games, and performing.
6. Kitano has come up with one of the most flat-out imaginative films to arrive in American theaters this summer.
7. A savvy blend of slapstick, sword fights and samurai honor.
8. A vaudeville of entertainment, of which revenge and swordsmanship are only two of the acts
9. Has lots of style and little substance.
10. Zatoichi is no ordinary samurai story.

What is a brief summary of the following reviews?

Colorful, rich with action and wonderfully choreographed, Takeshi Kitano takes on the classic samurai character with his own brand of cinematic flair.


Here are some reviews for a movie: 1. Hudson generates enough good will in the first two-thirds of Raising Helen to offset sporadic preachiness.
2. At two hours, Raising Helen feels like it's never going to end, and, when the obligatory all-is-forgiven finale finally arrives, it's a welcome relief.
3. Like a bad sitcom, it wants to make you smile while tugging at your heartstrings, but what it induces is a grimace and heartburn.
4. If [Helen] had her own NBC sitcom, she'd be safe for many a season of dating mishaps, workplace cock-ups, and conspicuously plush interior design; since she's stuck in a big-screen seriocomedy ... she must be swiftly rehabilitated of her egocentric ways.
5. A heartwarming comedy that makes you think as well as laugh.
6. A must-miss of snoringly mediocre proportions.
7. Marshall keeps the performances within a narrow range that might be called over-the-top lite: cheery-through- the-tears, with every complication spelled out and quickly resolved.
8. Shiny, undemanding and deeply fake.
9. Ladies: You're going to hell if your popping bubble wrap with male models instead of birthin' babies at home.
10. An acrimoniously cookie-cutter affair without an honest bone in its body.

What was the overall consensus about the movie?


Which movie is the following review about?

Although the movie never quite dispels the sense of being dated (it could have been made anytime in the past 40 years), it's a memorable, often moving timepiece.


1. Frighteningly good evidence that the British (Alfred Hitchcock, Carol Reed, et al.) have no monopoly on the technique of making mystery films.
2. Excellent but too mature for the littlest kids.
3. Immaculately designed, evocatively photographed, and easy to watch but also spiky, morally complex, and ultimately unsettling.
4. It's the classic hardboiled private-eye movie; the nervy maiden offering of its celebrated director, John Huston; the first glamorous star vehicle for Humphrey Bogart...
5. The Maltese Falcon is the first crime melodrama with finish, speed and bang to come along in what seems ages.
6. exceptionally crafted
7. "The stuff that dreams are made of," comments Spade about the elusive black bird of the title, a sentiment easily applied to this indisputable masterpiece.
8. John Huston's first whirlpool of seekers and patsies
9. The film is made up almost entirely of talk, and yet the performances are so wonderfully flamboyant and focused that conversations become the action of the movie.
10. This Spade is no stranger to the guile of shady clients and colorful suspects...

What is a brief summary of the following reviews?

Suspenseful, labyrinthine, and brilliantly cast, The Maltese Falcon is one of the most influential noirs -- as well as a showcase for Humphrey Bogart at his finest.


1. Despite doing a fine job telling this trajectory skateboarder bio, Stickler's tale lacked an edge and the power to make this story stick in the ribs.
2. You can see why Stickler was drawn to the charismatic Gator, but his story is so extreme (he is serving life for murder) that it effectively unbalances the project.
3. Unforgettable.
4. Stoked gives a young woman's rape and murder almost no narrative weight -- it is merely the disappointing spoiler to a talented skateboarder's career.
5. Thoroughly compelling documentary.
6. The movie fails to pull off all its trick moves.
7. A decent enough documentary albeit one about an appalling person.
8. It's fascinating to see the process by which skateboarding, in all its concrete grittiness, was transformed into a mainstream activity of consumer cool.
9. An exhilarating and terrifying journey through youth-culture hell.
10. A near-perfect time capsule of a specific moment in our culture, and a telling analysis of instant celebrity and the fickleness of youth culture.
What is the consensus?

The harder they come, the harder they fall -- this film shows, in raw, gripping detail, that even skater dudes can't resist the life of the rich and famous. It's more poignant than hard-core, and gives us a portrait of a life run over by the whims of the entertainment industry.


1. Loved McAdams, but Bana was miscast. Still the romantics will love this movie
2. I'm over the moon about this movie, which smooths out the psychological dissonances in Audrey Niffenegger's fine novel but is still an emotional workout.
3. OK, sometimes the movie gets really weird, but overall it's a very entertaining escapist sci-fi romance%u2014and these days that's a rare event.
4. Buy the book.
5. Wears on one's wits with its senseless hokum and dour melodramatics.
6. By the end, I finally cared about Henry and Clare. But I wish the filmmakers had pulled me in about an hour and a half sooner.
7. You've got one obnoxious romance.
8. If you positively drenched Kurt Vonnegut's novel Slaughterhouse Five in goo, you might get something like The Time Traveler's Wife.
9. The Time Traveler's Wife works when it embraces the magic of its concept, not when it remains tethered to the reality of its execution.
10. It's a really solid date movie that should give everyone a little something of what they are looking for.

What is a brief summary of the following reviews?

Though it may satisfy fans of the novel, The Time Traveler's Wife's plot contrivances and illogical narrative hamper its big screen effectiveness.


1. We know where this is going, or rather where it isn't; but the fun is in watching the negotiations unfold.
2. Its minor thrills come not from not knowing what will happen, but from watching the cagey choreography of two acrobatic minds.
3. Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance.
4. Although we know what happens, Diplomacy keeps up the suspense and pulls off surprises as Choltitz's decision reaches its inevitable ending.
5. You know, after all, what the end result will be, but "Diplomacy" is strong enough to keep the situation intense and important.
6. A little supporting personality could have made the proceedings feel less like a smartly staged character study and more like a wartime drama.
7. Arestrup and Dussollier are mesmerizing as they attack and parry, argue and counterargue. They reminisce about their lives before the war and wax poetic about their families - then engage in battle again.
8. The drama is made interesting and more substantial as hidden facts about the German's situation are revealed, and his soldier's perspective honored.
9. Gripping little drama shows the fate of Paris in the hands of two men
10. Diplomacy induces pins and needles from the get-go and doesn't let up until the credits roll.
Based on these individual reviews, what is the critic consensus?

For filmgoers who value character development and smart dialogue over plot, Diplomacy yields rich, powerfully acted rewards.


1. Director Brian Robbins stages scenes that are more awkward than funny, and the animal effects are bargain-basement.
2. It mongrelizes a much funnier, fresher movie.
3. The Shaggy Dog is wholesome, yes. And safe. And homogenized and soulless and utterly devoid of anything worthwhile.
4. The Shaggy Dog is like eating a great big log of ****, and Downey is the surprising and tasty bits of corn.
5. I now know what comedy in hell is like.
6. This film is evil, pure and simple.
7. Anyone who includes the song "Who Let the Dogs Out?" anywhere within their film will be kicked in the shin, once a day, every day, for one full year.
8. Disney's tried-and-true slapstick material (est. 1959) is here given a heinously unimaginative interpretation by five screenwriters and a director who manages to squander the gifts of an absurdly overqualified supporting cast.
9. The unruly pack of subplots make The Shaggy Dog much more convoluted than it needs to be.
10. Five credited writers undercharacterize everyone including the dogs, and Allen turns in his typical good-natured, superficial performance.
Based on these individual reviews, what is the critic consensus?

This Disney retread has neither inspiration nor originality, but may please moviegoers under the age of ten.


The critic consesnsus is: A high-concept blockbuster that emphasizes special effects over three-dimensional characters, Twister's visceral thrills are often offset by the film's generic plot.. What reviews supported this critic consensus?

1. The movie is wall-to-wall with special effects, and they're all convincing, although it's impossible for me to explain how Bill and Jo escape serious injury while staring right up into the Suck Zone of the Finger of God.
2. Playing tornado hunters Jo and Bill Harding, Helen Hunt and Bill Paxton remember their lines and wait for the props to bump into them. Neither pulls in a whole lot of interest on the screen.
3. Enjoy every cow flying, tractor crashing frame. (published 5-17-96)
4. Even though the plot is more predictable than the path of a tornado, it's still exciting entertainment.
5. When it sticks to kinetically portraying the sheer oddness of the tornadic phenomenon, Twister is a breeze. When it tries to recreate Hawks, it falls gracelessly from the green sky.
6. A summer crowd-pleaser worthy of its wind.
7. Whatever one might think of the increasing mindlessness of effects-driven blockbusters, you'd think they could at least manage to entertain, or to give you a reason to come back when you get up to go to the restroom.
8. Never before have I experienced a picture that could have been so good and that had so much going for it, that blew it so badly.
9. In a word, wow.
10. I am going to recommend Twister for three reasons.


The critic consesnsus is: French director André Téchiné successfully weaves five gripping stories in an engaging and realistic film about the early days of the AIDS epidemic.. What reviews supported this critic consensus?

1. It is a huge credit to the actors that we end up caring about these deeply flawed individuals.
2. An ambling narrative, but an atmospheric one that feels authentic despite its unlikely character pairings.
3. This film need not be approached with dread or trepidation; life, as witnessed by this small group of flawed but always empathetic characters, is a messy, ugly, and unfair business, but sometimes still surprisingly wonderful.
4. Well-served by a varied cast.
5. Some may think the metaphoric possibilities of an incurable illness that can be transmitted through sexual contact have been all but exhausted. Director André Téchiné almost proves otherwise in The Witnesses, a kind of film opera without music.
6. This depiction of the onslaught of AIDS is curiously pragmatic and a little clunky, but then again, perhaps it is time we all got a refresher course in AIDS awareness and its terrible consequences.
7. The beautifully acted ensemble film The Witnesses sidesteps most of its opportunities for high drama, political sermonizing and the jerking of tears.
8. little more than a cursory glance at a particularly eventful period in history, one that deserves art of a more thoughtful nature.
9. The Witnesses is a period-piece but feels utterly contemporary through its characters' urgent, overlapping imperatives.
10. André Techiné's The Witnesses is one of the finest fiction-film accounts of a free yet frightful moment in time, when the relaxing sexual liberties of the previous decade were being squeezed by the onset of an unforgiving new virus.


1. Somewhere along the way the people behind the series stopped thinking of Bond movies as comic books for adults and began thinking of them as action movies.
2. A patched-together mix of stunts from past Bond movies strung together by a plot that is improbable even by Bond standards.
3. t's got just about everything you could want from a Bond movie, and it's one of the most purely entertaining movies I've seen this year.
4. Knotty.
5. James Bond hasn't been this boring since Timothy Dalton carried the license to kill.
6. Even diehard Bond aficionados may find themselves thinking that the formula is not enough.
7. Brosnan's repertoire of eyebrow arching while ogling and jaw clenching while escaping is by now entirely without flavor.
8. Despite his lackluster co-star, I actually like Brosnan as Bond. I just wish that he had, well, better working conditions.
9. The hodgepodge of strong and weak characters makes the film move slowly at times -- slowly enough for us to notice some of the little things that weren't done right.
10. Far too reverent in its winking irreverence, the film treats a ragged formula as if it were sacred.
Based on these individual reviews, what is the critic consensus?

Plagued by mediocre writing, uneven acting, and a fairly by-the-numbers plot, The World Is Not Enough is partially saved by some entertaining and truly Bond-worthy action sequences.


The critic consesnsus is: A History of Violence raises compelling and thoughtful questions about the nature of violence, while representing a return to form for director David Cronenberg in one of his more uncharacteristic pieces.. What reviews supported this critic consensus?

1. With A History Of Violence, Cronenberg uses the pulp gangster genre - as opposed to, say, sci-fi horror -- to draw us into a dialogue on our relationship as voyeurs to violence, both real and cinematic.
2. Without conceding any of his iconoclastic vision, Cronenberg has turned a genre film with classic Western overtones into a gripping psychological drama that examines the duality of man and his infatuation with the art of violence.
3. While it weakens in its final stretch...A History of Violence succeeds enormously thanks to the strength of its direction and performances.
4. A truly entertaining and engrossing study of violence, family, and our pasts eventually coming back to haunt us...
5. A fascinating exercise in cinematic restraint resulting in a captivating, not to be missed film.
6. The less you know about this movie before seeing it -- and you really should see it -- the better.
7. Cronenberg's direction, mirroring the split in Tom, is alternately measured and frighteningly explosive, and, as always, he gives the movie a nasty underlay of sexual perversity.
8. This peculiarly predictable picture has been calculated, or miscalculated, to set up certain expectations, fulfill them, and then do the same thing again, thereby giving us a chance to see what's coming and, at least in theory, be shocked.
9. Despite the blood, the film follows Cronenberg's marvelous Spider in finding its true horror in the dark corners of the mind.
10. An absolutely sensational piece of filmmaking.


Here are some reviews for a movie: 1. Posey's such a delight it's easy to appreciate her even in a film as fruitless as The Oh in Ohio.
2. One must endure an hour of...crude gags until the film mutates into something almost wonderful in its final third, rescued by unlikely romantic foil Danny DeVito
3. Unfortunately, writer Adam Wierzbianski, who seems more steeped in the rhythm method of sitcom than the less predictable peaks of screwball, allows the batteries to run down prematurely.
4. A C- sex comedy with a near A-list cast -- at least in terms of talent -- The Oh in Ohio is one of those movies that promises much but doesn't deliver.
5. Or more aptly, The Aw in Awful.
6. Sex comedies often glean laughs out of sexual humiliation, but when the laughs don't come -- and The Oh In Ohio is devoid of even the mildest chuckles -- all that's left is the humiliation.
7. Parker Posey is not the only one who isn't getting satisfaction here.
8. At the end of the day, Kent and screenwriter Adam Wierzbianski have given us a mildly amusing premise, but fail to turn it into a story that takes us anywhere pleasurable.
9. The sexual nature of the film will attract the tweeny crowd but the summer/fall romance between Priscilla and Wayne is the real draw, thanks to [Danny] DeVito.
10. Posey rides the role with grace and charm, capturing each lightening bolt of self-discovery while also keeping the role grounded in quietly eroding shame.

What was the overall consensus about the movie?

A muddled sex-comedy that feels oddly sexless, The Oh in Ohio packs in too many ideas without establishing a clear identity or objective.


The critic consesnsus is: Austere, finely crafted, and compelling.. What reviews supported this critic consensus?

1. Intelligent but emotionally uninvolving.
2. This is an astonishing movie.
3. A shrewd, highly controlled little film.
4. Spends more time than you'd want chasing a master carpenter around a trade school for reasons that aren't clear until undercurrents you barely knew were there erupt in one heart-pounding scene.
5. Cinematically speaking, Luc and Jean-Pierre Dardenne are a modern-day miracle.
6. The utterly unpretentious, stripped-down artistry of the Dardennes' story-telling delivers a profound payoff that exceeds expectations.
7. This is a fine, uncompromising film, and Gourmet's performance should be called great.
8. It is as assured and flawless a telling of sadness and joy as I have ever seen.
9. I can't deny being stirred by the wildly melodramatic climax of The Son, with its thunderously quiescent Zen Buddhist conclusion.
10. The Dardenne brothers focus obsessively on physical and material details, thereby imbuing objects and actions with a spiritual significance.


1. For one moment, the patience of documentarians nurtured understanding among strangers accustomed to being enemies -- for which a prize is surely in order.
2. It's the secular Israeli kids (Yarko and Daniel) and especially a graceful young Palestinian refugee (Sanabel) who offer the most hope.
3. This is a raw and disturbing tale that took five years to make, and the trio's absorbing narrative is a heart-wrenching showcase indeed.
4. At times an almost unbearably moving portrait of innocence lost and how ideologies easily infect young minds.
5. Gives us a view of life in and around Jerusalem that is intensely personal and immensely heartbreaking.
6. ...devastatingly direct to the heart of the matter, demonstrating that there is no easy walk toward peace in a region with such strong conflicting traditions
7. Though the focus strays at times, this Oscar-nominated doc makes good on most of its Promises.
8. Takes a simple idea and just about breaks your heart with it.
9. Many insightful moments.
10. If you like peace, you'll like Promises.

Write a one sentence summary of the reviews above.

A heartbreaking and illuminating look at the Israeli and Palestinian conflict through the eyes of children.


The critic consesnsus is: While sluggish in spots, Resurrecting the Champ is a sports/newsroom drama elevated by high-caliber performances by Samuel Jackson, Josh Hartnet, and Alan Alda.. What reviews supported this critic consensus?

1. Even if it doesn't bring the nearly dead boxing film back to life, Resurrection offers a revealing peek into reporting and the ways it can go wrong, coming from the best or most crass intentions.
2. A heart-warming film about sons and fathers and the reality of famous figures, whether they're on the radio or across from you at the dinner table.
3. Those expecting a straight-up boxing drama may be slightly disappointed in Resurrecting the Champ, but the moral convictions resonate beautifully.
4. Resurrecting the Champ leaves a lot to be desired as a boxing movie. And compared with newsroom drama champs like Shattered Glass and Absence of Malice, it is undercard-caliber material.
5. Hartnett barely manages to carry all [the movie's] weight, only to be blown off the screen by Jackson's quiet performance as the shambling Champ.
6. [Director] Lurie clearly wants Resurrecting the Champ to be 'more' than a sports movie, or a newspaper movie. Ironically, he ends up with less.
7. Resurrecting the Champ bobs and weaves enough to avoid the usual sports clichés, but its too-earnest screenplay lays it on thick and pulls what could have been a knockout punch.
8. Treacle takes over in the last act, but most of this fact-based story by screenwriters Michael Bortman and Allison Burnett takes the inspirational sports drama into unexpected and morally complex territory.
9. Hardly anything feels real, but what feels even more unreal is Hartnett with a cloying, sentimental, self-pitying performance. The liveliest thing in the film is the great Jackson, slumming again in a role miles beneath him.
10. Comes across an awful lot like a sentimental, manipulative teleflick. The good news is that it's a fairly well-executed example of the type.


Write a one sentence review of the movie "alpha and omega".

With bland visuals and a dull, predictable plot, Alpha and Omega is a runt in 2010's animated litter.


1. Bong Joon-ho's The Host is the best kind of genre film, a movie that delivers the conventions audiences expect from a horror flick while also offering surprising new variations on the formula.
2. The Host is wildly entertaining; people who love the genre will get their geek buttons pushed hard by this flick. But what makes the movie an instant classic is that it's also, in its dark heart, a furious lampoon.
3. Bong's supreme achievement is that he has made his many messages fun.
4. If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
5. You'll laugh, you'll gasp, you'll jump, you'll ask Hollywood for your money back. Seek it out.
6. Retains a quirky charm that cannot be discounted. Recommended not just for what it achieves, but for what it attempts to.
7. A great piece of filmmaking and a legitimate science-fiction/horror classic.
8. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.
9. What a pleasure to watch an ambitious horror film that not only frightens but also surprises and engages us completely with its artful shifting of tones.
10. Boon's film is both funny and heartbreaking, a supremely confident mix of political satire, free-floating paranoia, fractured family dynamics and the kind of comedy that regularly reconfigures itself into tragedy.

What is a brief summary of the following reviews?

As populace pleasing as it is intellectually satisfying, The Host combines scares, laughs, and satire into a riveting, monster movie.


Summarize the following movie reviews:

1. A lusty, vigorous, sun-drenched romp in which two parallel love affairs intertwine with comedic and dramatic results.
2. The pace is fast and Shakespeare pleases much.
3. One longs for genuine bursts of cinematic poetry instead of all the overemphatic gusto.
4. The picture is overripe, and with few exceptions, so are the performances.
5. Somehow, the movie feels insubstantial and uninspired.
6. The key to the film's success is in the acting, especially in the sparks that fly between Branagh and Thompson.
7. Director Branagh, who altered the play imaginatively for the screen, gives wonderful import to this silliness from long ago.
8. The movie is uneven, but the range is from good to outstanding.
9. Kenneth Branagh's return to Shakespeare captures the Bard's captivating comic romance at the peak of flavor.
10. The good news is that the audience will have just as much fun as the players with this one.

Kenneth Branagh's love for the material is contagious in this exuberant adaptation.


The critic consesnsus is: Alternately horrific and uplifting, Call Me Kuchu exposes heinous systematic brutality with a clear eye and admirable precision.. What reviews supported this critic consensus?

1. It's a film about vibrant, intelligent people with a real love of life, at times imbued with a joy that, for those familiar with the tragedy it discloses near the end, is almost too much to bear.
2. While a local filmmaker's perspective may have brought more dimensions, the coverage of events here is impressive and on the mark.
3. A heartfelt human rights gem that exposes anti-gay hatred in Uganda.
4. [An] eloquent, devastating documentary ...
5. The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
6. It does the one thing that bigots and homophobes can't stand: it puts a human face on the targets of their unfounded, irrational hatred.
7. Equally gut-wrenching and inspiring, the documentary Call Me Kuchu beams right from Uganda, the global hypocenter in the ongoing and intensifying struggle over LGBT rights.
8. It's far too soon for a happy ending, but in praising Kato's bravery, Call Me Kuchu at least points to the potential for one.
9. Apart from its laudable goal of raising awareness, the film doesn't have much to offer.
10. Simultaneously difficult to watch and a must-see.


Summarize the following movie reviews:

1. More human interest than agitprop.
2. The point that the homophobic right is picking and choosing which parts of the Bible to follow, and which verses to look at in the context in which they were written, is both terribly familiar and rudimentarily argued.
3. As long as it's dissecting the six or seven passages in the Bible that ostensibly disparage homosexuality, this documentary ode to tolerance takes a shrewd look at how speciously selective and ahistorical the church condemnation of gays really is.
4. [For] The Bible Tells Me So must be the first liberal documentary to resist Bible-bashing for Bible-thumping.
5. An important and edifying documentary that can convince many to open their hearts and their minds to support gay and lesbian equality.
6. This rational, human and very serious documentary by Daniel Karslake gets at the historical distortions of the Good Book as well as the ease with which holy writings have been used in America to propagate hate.
7. Here's hoping Karslake's film won't simply preach to the converted.
8. There is no denying that the film fills a need. The inevitable DVD should be packaged in a plain cardboard sleeve, so that viewers can carry it in their pockets and, if confronted by a homophobe, hand it over and say, "Watch this, then get back to me."
9. Filmmaker Daniel Karslake takes aim at the ways in which Scripture has been used to discriminate against gay men and women, and reveals the ways in which literal -- and often grossly inaccurate -- readings of the Bible have damaged countless lives.
10. This is an impressive, critical film that should be screened for everyone who's ever exploited the Bible to justify fear and prejudice.

A timely and poignant examination of gays, their families and religion.


1. Redux doesn't redefine Apocalypse Now -- rather, it adds archival material. But it's terrific to see the film back in theaters.
2. Well worth seeing for just such insights, its flashes of brilliance, failures, and virtuous intentions.
3. Coppola and company has made a bigger, but not better, movie that does have to be seen [on the big screen]
4. This is the one where [Coppola] honors his vision -- or clears his name, whichever way you look at it.
5. Although its magnificently restored print and marvelously revamped soundtrack are reason enough to catch it in the theater, one can't help but feel that the new scenes detract from the film's epic tale.
6. In some ways even richer and more atmospheric than the original version, in others attenuated and logy.
7. The new Redux version isn't a better film, but for Coppola fans and film lovers, it's essential viewing.
8. You won't see any film this year as beautiful, and plain thrilling as Apocalypse Now Redux.
9. The film now seems both mellowed and -- thanks in part to the most vibrant-looking prints in its 22-year history -- revitalized.
10. If anything, it's an excuse to see the film on the big screen, and that's good enough for me.
What is the consensus?

The additional footage slows down the movie somewhat (some say the new cut is inferior to the original), but Apocalypse Now Redux is still a great piece of cinema.


The critic consesnsus is: A commentary on fascism and beauty alike, Bernardo Bertolucci's The Conformist is acclaimed for its sumptuous visuals and extravagant, artful cinematography.. What reviews supported this critic consensus?

1. This film nevertheless touches some issues that seem universal even today.
2. Trintignant gives a mesmerizing performance as someone wrestling with his inner demons.
3. The headier aspects and New Wave stylings do make it worthwhile.
4. Trintignant gives a legendary performance.
5. An eye-watering testimony to the erstwhile dash of international cinema.
6. One of Bertolucci's best films, The Conformist makes a provocative connection between repressed sexual desires and fascist politics.
7. The exquisite reverie of a death dance (political and sexual), filmed by a wizard of barely sublimated eros.
8. Juggling past and present with the same bravura flourish as Welles in Citizen Kane, Bertolucci conjures a dazzling historical and personal perspective.
9. The movie is pure magic as story, as drama, as photography, as conviction, as everything except its ideas.
10. Bertolucci never made another film that even came close to The Conformist


1. Spider-Man 3 may disappoint those who think tongue-in-cheek spectacle is the only name of the game.
2. At the screening I attended -- which was packed with real people, not just movie reviewers -- I thought I detected an actual slump of puzzlement at the end, as the movie's final scene sank slowly into a bog of unexpected mush. I'll say no more.
3. Spider-Man 3 isn't a bad film -- many scenes, taken on their own, are thrilling and even moving -- but it indicates a downward spiral that leaves you not wanting to see what's in store for Spider-Man 4, but rather, dreading it.
4. The script is busy with so many supporting characters and plot detours that the series' charming idiosyncrasy is sometimes lost in the noise. Fortunately, it's entertaining noise.
5. 'Spider-Man 2' was one of the best films of its kind; by comparison, '3' registers as a perfectly acceptable, often compelling sequel... that achieves most of its goals but doesn't break much new ground.
6. "Don't shoot, fellas: it's the bass player from Fall Out Boy!"
7. All in all, the fun has simply gone out of it.
8. The highly disappointing Spider-Man 3 has its touching moments, to be sure, but they're few and far between.
9. The effects are amazing and fans will enjoy the references to the comics, but the film is something of a disappointment overall because it tries to do too much.
10. A browbeating domino effect of more, more, more with special effects that make things easier to see but harder to care about. With great filmmaking power has come great filmmaking laziness that turned a good franchise into candy-colored crud.

What is a brief summary of the following reviews?

Though there are more characters and plotlines, and the action sequences still dazzle, Spider-Man 3 nonetheless isn't quite as refined as the first two.


1. Tupac: Resurrection is surprisingly direct...
2. Lazin's remarkable achievement is to catch Tupac in the act of discovering himself. It's something to see.
3. A poet warrior of the first order emerges in this riveting chronicle of the brief life and times of rap superstar Tupac Shakur.
4. Even hard-core fans will learn something.
5. By the time you've heard the gunshot that signals his 1996 death, you will feel that this world lost a very important voice.
6. Tupac: Resurrection gives us a little bit of both but, more than that, leaves us with the impression that Tupac Shakur had a lot more left to say.
7. Content to be a kind of Valentine to the slain rapper -- so reliant on recycled MTV footage that it feels more like a Behind the Music special than a feature film.
8. The film gives a fine sense of why Shakur's fans carry the torch for his legacy. But it's better from the perspective of that spirit on the streets, not up in the clouds.
9. A must-see not only for fans of Shakur's music but for anyone who appreciates a well-told life story.
10. The film would have been strengthened if it had been a little more willing to challenge Tupac's behaviour.

What is a brief summary of the following reviews?

There's no question where the director's loyalty lies in this one-sided tribute; however, Tupac's charisma makes this doc an engaging sit.


1. Nathan's gorgeous slow-motion shots of the 12 O'Clock Boys riding for the camera shows the glory to which Pug aspires; in the rest of the movie we see the life that's really awaiting him.
2. There's no balance of perspective, but what the feature lacks in fullness it makes up for in pure energy, extracting a sense of life in motion as its influence by a false sense of security.
3. A short, pungent, ambiguous portrait of the poorer sections of Baltimore and the young men who get their kicks riding dirt bikes through the streets en masse, popping wheelies and dodging the police.
4. This defiance of the law, combined with the skill, speed and excitement, is part of the romance that draws Pug and other kids into the biker life. It is like the wild west.
5. The result is evocative and compelling, even if it doesn't offer much context or socioeconomic insight into its broader subject.
6. One of the more unique looks at the Other America to come down the line in recent years
7. It's the rare film that gets deep into low income inner city life and zeroes in on what motivates those whom society tends to forget.
8. For a first-time filmmaker, Nathan achieves a remarkable balance, presenting each side with very little bias.
9. Documentary filmmaker Lotfy Nathan explores the outlaw appeal of an inner-city Baltimore dirt-bike gang through the eyes of a 13-year-old wannabe member named Pug.
10. Its rhythm is the jagged rhythm of everyday life, and its primary asset is its unemphatic authenticity, offering a window into a very specific time and place.

What is a brief summary of the following reviews?

Visually striking and grippingly fast-paced, 12 O'Clock Boys asks thought-provoking questions with admirable subtlety and restraint.


1. For the generation that grew up on female pioneer Gertrude Berg's radio and TV shows, Aviva Kempner's Yoo-Hoo, Mrs. Goldberg will likely serve as a welcome trip through memory lane.
2. There's far more to this groundbreaker who built an empire in the face of formidable challenges.
3. Berg's imaginary Bronx family rooted in ethnic pride, captivated at a time of tremendous pressure on immigrants to assimilate and conform, and suppress their unique cultural identity. And while windows nicely substituted for texting.
4. Yoo-hoo, Mrs. Goldberg benefits from a charismatic if elusive biographical subject that has all but faded from public view.
5. Technique is nothing fancy in this straightforward chronological account that leaves a warm glow for the linked personalities, the programs and the era.
6. Not being a student of classic radio or television, I'd never heard of Gertrude Berg before this film. After watching the documentary on her life, I never want to forget her.
7. Accurately subtitled 'The Most Famous Woman in America You Never Heard Of,' Aviva Kempner's well-intentioned portrait of Gertrude Berg continues the director's focus on unsung Jewish-American heroes.
8. A captivating and illuminating documentary filled with charm and good-natured humor. It finds just the right balance between entertaining the audience and provoking them intellectually.
9. Celebratory but clear-eyed.
10. Yoo-Hoo, Mrs. Goldberg is really a lament for contemporary Jewish comedy's loss of ethnic confidence. Kempner's nostalgia becomes irrefutable in those faded images of Berg's beaming face and discreet intelligence.

Write a one sentence summary of the reviews above.

Equal parts edification and entertainment, Kempner's tender tribute to a forgotten pioneer of American entertainment is both richly deserved and long overdue.


Write a one sentence review of the movie "spy game".

The outcome of the kinetic Spy Game is never in doubt, but it is fun watching Robert Redford and Brad Pitt work.


Which movie is the following review about?

Arguably Wilder's best film.


1. Miller never falls back on the formulas that have become the bane of too many recent action films, and his sustained cuts lend a clarity to the proceedings.
2. An astonishing display of virtuoso cinema that is destined to take its place among the most vivid and freshly imagined fist-to-groin contests in the medium's history.
3. Quality, visionary sci-fi.
4. Disjointed but it still rocks.
5. Gibson impressively fleshes out Max, Tina Turner is striking in her role as Aunty (as well as contributing two topnotch songs, which open and close the picture) and the juves are uniformly good.
6. The performances are superb. The script allows Gibson to bring a welcome new dimension to the Mad Max character, and the actor rises to the occasion.
7. Great goofy fun.
8. The punky energy of the earlier films has given way to a self-conscious striving for significance, obscuring Miller's considerable kinetic talents in favor of a lumpy didacticism.
9. Enough imagination, wit and ingenuity to put recent Spielberg to shame.
10. Good action plus Tina Turner. Welcome indeed.

What is a brief summary of the following reviews?

Beyond Thunderdome deepens the Mad Max character without sacrificing the amazing vehicle choreography and stunts that made the originals memorable.


Which movie is the following review about?

While it's beautifully shot and acted, the film is also somewhat indulgent and meandering.


Write an ordered list of reviews about "sandlot".

1. There's a snappy change-of-pace gag involving a little guy and a nubile lifeguard, but the screams and barks and fraudulent emotions grow wearying.
2. 'The Sandlot' always struck me as a more kid-friendly version of 'Stand by Me.'
3. A solid double rather than a grand slam, The Sandlot remains a refreshing antidote to the daily round of contract squabbles on the sports page.
4. You feel as if you're being smothered in cotton candy by a director obsessed with infantility and who cannot bear to face the reality of childhood.
5. In The Sandlot's nostalgia for simpler times, a single-sex world seems to be a key component.
6. The kids even have their own treehouse, which means that the production designer is the only person connected with this project who actually went out on a limb.
7. The Sandlot is a safe, wholesome, patriotic family picture about baseball, and if there is an original scene, it escaped my attention.
8. In this well-crafted movie, a strong cohesive ensemble makes the team likable. Guiry as Scotty is especially good.
9. Any of Charles Schulz's baseball-oriented Peanuts strips contains more understanding of baseball and more insight into children, as well as more pointed fun.
10. Several of the hard issues involving childhood -- getting accepted in a new neighborhood, getting accepted buy a new stepdad -- are handled with sensitivity.


Summarize the following movie reviews:

1. A sensational counterpoint to everything animation means as family entertainment in Hollywood.
2. Right down to faux black-and-white film stock and scratchy gramophones, Triplets resurrects Flesicher's world of music, debauchery, inspired illogic and crude showbiz parody.
3. An animated film that takes familiar Disney archetypes and twists them into vivid, imaginative shapes.
4. Packs staggering levels of craft and imagination into every last frame.
5. Wonderfully weird.
6. A mad masterpiece.
7. "Dazzlingly inventive and delightful and probably unlike any cartoon -- or movie -- you've ever seen..."
8. Virtually dialogue free, Les triplettes is full of funny and bizarre images, often in the same frame.
9. The astonishing, outlandish, and singular originality of this movie defeats any attempt to describe or explain it. But it also makes it a lot of fun to watch.
10. Triplets is very probably unlike anything you've seen before.

Richly detailed and loaded with surreal touches, The Triplets of Belleville is an odd, delightful charmer.


1. A slick, commercial cinematic jukebox, a series of self-contained song-and-dance sequences that could be cut apart and played forever on MTV -- which is probably what will happen.
2. All could be forgiven if it weren't for the soulless overall slickness.
3. Not quite a career low for John Travolta -- Two of a Kind was still to come -- but one he nevertheless would probably love to forget.
4. It is a movie caught in a time warp: a slick MTV video that celebrates Eisenhower-era morality. For the Staying Alive audience, the problem is staying awake.
5. [Sylvester Stallone] pours lots of energy but little intelligence into scads of short, sweaty scenes more suited to the rhythms of cable-TV ''rock video'' than to the wide screen.
6. As always Travolta is urban gorgeous and very charming. The rest of the film is neither.
7. If not quite one of the worst sequels ever made, it's near the top of the list of all-time most disappointing sequels. Writer-director Stallone stupidly attempts to turn Tony Manero into a dancing Rocky.
8. The bottom line is that Staying Alive is nowhere as good as its 1977 predecessor, Saturday Night Fever.
9. It all amounts to an embarrassing show of unrestrained, Hollywood-style egomania.
10. Tracking Travolta's adventures as he gets to perform on Broadway and falls in and out of love, director Stallone is in his mindless mode when it comes to characterization.
Based on these individual reviews, what is the critic consensus?

This sequel to Saturday Night Fever is shockingly embarrassing and unnecessary, trading the original's dramatic depth for a series of uninspired dance sequences.


Write an ordered list of reviews about "millennium-actress".

1. A lovely meditation on memory, movies and the almost magical power of images to fire the imagination and keep the hope of happiness and beauty alive in the face of real-life ugliness and despair.
2. ...in its own way as structurally inventive as the recent `American Splendor.'
3. Millennium Actress is an enchanting Japanese animated film about a woman whose life is propelled by the yearning in her heart for a mysterious stranger.
4. The movie's narrative can be taxingly ornate, but there's something beautiful about its metaphorical conflation of politics and glamour, the real and the fictional.
5. Kon and co-writer Sadayuki Murai's cleverly slippery story bursts with real passion, overcoming the lack of technical achievement.
6. Well-drawn Japanese anime illustrates the perseverance of an actress pursuing a man whom she loved at first sight.
7. This is a screen trip that actually takes you someplace -- out of the world, around the world and straight to the heart of the world.
8. ...a well-crafted romantic storyline that will undoubtedly ring true with adventurous moviegoers looking for something off the beaten path.
9. It's hard to imagine anyone who appreciates animation as an art form not enjoying this film.
10. It is a lovely Valentine to the golden age of Japanese filmmaking and an era of gentler, deeper feelings.


The critic consesnsus is: The Constant Gardener is a smart, gripping, and suspenseful thriller with rich performances from the leads.. What reviews supported this critic consensus?

1. The Constant Gardener" has strengths that aren't apparent until the final credits start rolling.
2. While le Carre's narrative returns an unequivocal guilty verdict on the drug companies, the jury on Meirelles's storytelling abilities remains hung.
3. A sad, taut, and excellent global mystery.
4. An offensively condescending tourist's eye
5. What it adds up to is a good yarn that uses real political concerns to make itself look beefier than the average Hollywood thriller.
6. Fernando Meirelles, codirector of City of God, stresses old-fashioned storytelling and takes full advantage of his cast, including Danny Huston.
7. a deeply intelligent and profoundly moral examination of a world where the political and the personal cannot ever be kept apart.
8. Mr. Fiennes, drawing his lips inward and adding just a slight quaver to his voice, gives his finest performance in almost a decade.
9. The pornography of Third World damage and suffering for the popcorn munching voyeuristic entertainment of more economically cozy moviegoers.
10. Elaborate, cynical, ambitious, eager, visually arresting, the film wants it all and gives plenty.


The critic consesnsus is: Abbass shines at the center of this sensuous and vibrant film.. What reviews supported this critic consensus?

1. A terrifically subtle piece about one woman's personal liberation in a patriarchal Muslim society.
2. Rouge is less about a superficial midlife crisis than it is about the need to stay in touch with your own skin, at 18 or 80.
3. Warm and exotic.
4. Lackluster and uninspired.
5. Amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances.
6. A film drenched in irresistible color and texture.
7. an essentially awkward version of the lightweight female empowerment picture we've been watching for decades
8. I wish the belly-dancing scenes had been more nimbly shot but found it a small revelation to see a movie in which women too plump for Hollywood-style dancing are shown lighting the fires of male fantasy.
9. Refreshing.
10. Has its own special flavor.


1. You can almost feel a trickle of sweat start to form as director Yann Demange and his crew evoke a nightmarish world in which trust is a luxury that only the foolish can afford.
2. Having settled on Belfast, the film-makers revel in the artificial fibres, shaggy hair, and nicotine-yellow ceilings of a particular place at a particular time.
3. With O'Connell's arresting lead performance backed by a gritty supporting cast, '71 marks an impressive feature debut from director Yann Demange, who uses jittery hand-held cameras to give the action cinema verité urgency and immediacy.
4. It's beautifully shot, smartly written and packed with suspense. But Top Boy director Yann Demange and Black Watch writer Gregory Burke do slightly over-egg the plot.
5. A formidable debut for TV/commercial director Demange
6. Yann Demange's film most backgrounds the politics in favor of nervy suspense, you-are-there verisimilitude and strong characterizations.
7. Demange and Burke jack up the tension by subverting the stranger-in-a-foreign-land aspect of the plot in ways that smartly and subtly tap into the specifics of the situation.
8. The film's more interested in the politics of war, rather than the specifics of the conflict; the idea, to paraphrase Richard Dormer's ex-army medic, that rich ****s use stupid ****s to kill poor ****s.
9. 1971 was one of the worst years of The Troubles and many of us would be forgiven for not wishing to return to that very grim time in our recent history. However, '71 is a sensational watch, a must-see for film goers in Northern Ireland.
10. The mix of genre contrivances and docudrama can be queasy at times. You won't have a moment to dwell on such faults thanks to stealthy direction by newbie Demange, who keeps the action moving between scenes and standoffs that are lurid and visceral.
What is the consensus?

Powerfully directed and acted, '71 stays true to its fact-based origins while remaining as gripping as any solidly crafted action thriller.


Which movie is the following review about?

A work of magic that makes the Broadway adaptation look like overproduced swill.


1. One of the most thoughtful and startling snapshots of the human condition of the last ten years.
2. Played by Spanish actor Javier Bardem, Chigurh is the most original bogeyman to bloody up the screen in a while.
3. The last word on the modern-day western used to be Peckinpah's. No Country for Old Men is Peckinpah gone post-Peckinpah.
4. Beautifully photographed (by Roger Deakins) in leathery Texas tans, No Country For Old Men is filled with twists and surprises, hypnotically engaging from its very first scene.
5. From brutal start to ironic finish the movie's tension is constant.
6. I can't help feeling the film is ultimately hollow.
7. An exasperating and self-defeating experience, rather like listening to a nymphomaniac extol the virtues of celibacy.
8. As much as the film is about Bardem's even-keeled determination... it's also about Tommy Lee Jones' brilliantly characterized Texas sheriff, who, faced with a trail of blood like he's never seen, wonders if he's still a match for a changing world.
9. No Country for Old Men is an action film both measured and grave, opening as a Jim Thompson-esque crime saga set on the Texan sands, but as it moves along the film acquires an allegorical depth.
10. This magnificent film represents the best work the Coen Brothers have done since Fargo. Like that classic this is a cold-blooded thriller with a darkly humorous edge.

Write a one sentence summary of the reviews above.

Bolstered by powerful lead performances from Javier Bardem, Josh Brolin, and Tommy Lee Jones, No Country for Old Men finds the Coen brothers spinning cinematic gold out of Cormac McCarthy's grim, darkly funny novel.


Here are some reviews for a movie: 1. This is a kids' movie: Parents can either get into the silly-suspenseful spirit of it or play Rummikub on their iPhones.
2. The film toggles between high camp and deadly earnestness, all the while threatening to drown in an ocean of not-so-special effects.
3. While it certainly isn't terrible, it plays like a low-rent variation of the Harry Potter formula--innocuous but instantly forgettable.
4. Likable as Percy may be, it's not lightning he's stolen.
5. It's not awful. It's just not particularly inspired. Something tells me this movie won't be inspiring a sequel anytime soon.
6. Built with set pieces that demonstrate a real affection for Greek myth iconography and centered on a strong performance by Logan Lerman (a star in the making), Percy Jackson & The Olympians aims young and hits the target fairly consistently.
7. Harry, Ron and Hermione: Relax. You could whip Percy Jackson and his pals with your wand hands tied behind your backs.
8. Parental Content Review
9. It's apparent that Potter may at last have a worthy successor.
10. Like its stars, the film is genial good company.

What was the overall consensus about the movie?

Though it may seem like just another Harry Potter knockoff, Percy Jackson benefits from a strong supporting cast, a speedy plot, and plenty of fun with Greek mythology.


Write an ordered list of reviews about "summers tale".

1. Poupaud may come off as callow and timid... but Rohmer seems to suggest that his youthful mistakes will make him a better man, a typically generous, hopeful, and convincing sentiment in a disarmingly winning film.
2. The third, sunniest and funniest of Rohmer's seasonal tales.
3. "A Summer's Tale" has room to focus on Rohmer's brilliance at revealing human nature through articulate, multidimensional characters, perfectly cast, who in some ways seem to exist outside of time.
4. The seasons, summer especially, are so atmospheric and weighted with many good associations and memories, all of which makes A Summer's Tale a nice cinematic diversion for any season.
5. Discovering that there's a 1996 movie by Eric Rohmer that's only now making it into U.S. theaters is like finding a $20 bill in an old pair of pants.
6. Think of it as a thriller by Hitchcock-a Rohmer favorite-only with words, not knives, that cut straight to the heart.
7. An emotionally rich tale with lots of tasty talk about the way men and women deal with each other, knowingly or otherwise.
8. A Summer's Tale feels like a great beach read of a movie, that deceptively slender paperback you tuck into your luggage because it's substantial without weighing much.
9. [It's] as if the director had been awaiting for half a century the artistry with which to exorcise his memories of embarrassment, pain, and sexual frustration.
10. A Summer's Tale is vintage Eric Rohmer, his most richly satisfying film in a number of outings.


1. Too often the movies view the problems of Africa through Western eyes, but Devil turns that weakness to a literal strength, because Steidle could do nothing in his position except take photographs.
2. Brian Steidle wants to show you some pictures. Please look at them.
3. An exceptionally powerful film driven by contradictory forces.
4. Like the best art, documentary films can provoke strong emotions -- and The Devil Came on Horseback is definitely provocative.
5. [Steidle's photos] cannot be viewed without flinching, but they must be seen by as many people as possible.
6. The Devil Came on Horseback is a documentary about the genocide in that part of Africa, and the film's strength is that it shows us the horror, rather than tells us about it. It's painful to watch.
7. The Devil Came on Horseback means to upset you. To this end, it presents Steidle's photos and very vocal frustrations.
8. With an estimated 400,000 dead since 2003, and 2.5 million Sudanese left homeless in the wake of the genocide, ignoring the story doesn't seem like a humane option.
9. One of the most searing and emotionally shattering documentaries ever made about the indifference of the world to genocide.
10. Marine Captain Brian Steidle, who went to Darfur to monitor a peace agreement but instead became a witness to genocide, should be considered by Time for Man of the Year.

What is a brief summary of the following reviews?

The Devil Came on Horseback is both a strong primer on the complexities of the situation in Darfur and a harrowing first-person doc.


Write an ordered list of reviews about "i still know what you did last summer".

1. Director Danny Cannon knows how to give a Hitchcockian air to an island-style Bates Motel.
2. This is a really stupid movie and that's really disappointing since I really did enjoy the first one.
3. It's not a bad film for what it is.
4. I was more afraid of what was in my popcorn's butter-flavoring than I was of what was up on the screen.
5. Some thrills and chills are provided, but as audiences realize they've lived this Summer before, early, strong b.o. returns are also likely to die.
6. The only thing terrifying about this clunker is the thought of having to sit through it.
7. There are many things wrong with this film, starting with title.
8. When I heard the sequel's title, I strongly considered resigning this post.
9. A better-than-average slasher movie is that it understands exactly the sorts of cheap thrills its audience is looking for and delivers them with a minimum of distraction and a maximum of energy.
10. It's frustrating, not to mention insulting.


Here are some reviews for a movie: 1. It would have worked better if it weren't so obvious and manipulative. About halfway through, it plays more like a diagram of lessons learned than a movie about real people dealing with complicated problems.
2. Un estupendo drama contemporáneo sobre algunos de los conflictos más básicos que acechan a hombres y mujeres de bien en cualquier rincón del mundo.
3. In addition to being safe and non-threatening, Bier's film finds time to throw in mentions of cancer and divorce, and images of poor children starving in Africa. It's pretty much a recipe for an Oscar.
4. The microcosm of the children's world is exceptionally well drawn.
5. There's little flash or surprise in Bier's latest well-shot film, but plenty of substance.
6. Although this being a film by Susanne Bier, there is unfortunately a good measure of unneeded melodrama stirred in to trivialize the very important thematic concerns.
7. Film defies conventional expectations about biblical notions of retribution, even as it initially prepares you to accept them. A truly complex work of art.
8. A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied
9. It's well made but too flawed to be a satisfying cinematic experience.
10. Essentially an essay about bullying ( ... ) and the abuse of power, it will probably be appreciated most by people who want to keep up with [Susanne] Bier's maturing catalogue.

What was the overall consensus about the movie?

In a Better World is a sumptuous melodrama that tackles some rather difficult existential and human themes.


1. A black-blooded hoot.
2. Ninety percent...is fun, but that fun is compromised by the 10 percent that isn't %u2013 i.e., the conclusions.
3. The general population may not get this one, but Asian cult cinema fanatics and some horror buffs will be absolutely thrilled.
4. Irregular como a maior parte das antologias, traz episзdios longos a ponto de diluьrem suas tramas, mas curtos demais para permitirem um bom desenvolvimento das situaушes e personagens. Mas ж um esforуo intrigante.
5. A great horror anthology that thankfully restores my faith in the anthology gimmick that Hollywood completely diminished years ago...
6. This anthology is a mixed bag.
7. All the episodes are interesting and disturbing - perhaps too much so, without any clear reason for the audience to endure the suffering.
8. These films give you a rush that most American horror movies don't, even if you're not entirely certain what's going on.
9. Things that are unique are interesting, and that can only be a plus to the stuck-up, artsy-fartsy horror film critic like myself.
10. This isn't for the weak of heart or stomach. This is disturbing stuff, people.
What is the consensus?

This anthology contains brutal, powerful horror stories by three of Asia's top directors.


Write an ordered list of reviews about "1112954-rookie".

1. It soars with palpable sentiment and spirit.
2. A powerful, soulful and touching evocation of family values, the American spirit, believing in yourself, not surrendering to age and living your dream.
3. So unassuming and pure of heart, you can't help but warmly extend your arms and yell 'Safe!'
4. Salutes the singular power of yearning in our lives while also paying tribute to the unique ways in which others can help us make our dreams come true.
5. Doesn't quite rise to the level of the Ruth, Gherig and Aaron of baseball dramas - "The Pride of the Yankees," "The Natural" and "Field of Dreams" - but it comes mighty close.
6. If you're a fan of baseball thought, it's a film not to miss, as any picture that loves the game as much as this film is truly a sports movie to see.
7. It's one of those baseball pictures where the hero is stoic, the wife is patient, the kids are as cute as all get-out and the odds against success are long enough to intimidate, but short enough to make a dream seem possible.
8. Quaid is in fine, Big Easy form, and delivers a deft performance.
9. Even when there are lulls, the emotions seem authentic, and the picture is so lovely toward the end ... you almost don't notice the 129-minute running time.
10. A rarity to be cheered: a smart, engaging family film that stands firmly in the best of the Disney tradition.


Summarize the following movie reviews:

1. A lazily haullucinatory epic that means to encapsulate approximately 50 years of American social history into a single film.
2. The perfect swan song for Leone.
3. Pure cinematic bliss.
4. Hugely complex, achingly sad and splendidly gorgeous.
5. At its restored 229-minute cut, Leone in his directorial swan song proves in its first half-hour how he's the master of cinematic hypnosis.
6. Masterfully edited.
7. Seeing what Leone always intended is like getting your dirty glasses washed.
8. The film seems to be too ambiguous for its own good. But somehow it holds together, and becomes a masterpiece, and a wonderful little exit piece for the genius Mr. Leone.
9. While The Godfather delivers certainty and a comforting dramatic resolution, Once Upon A Time In America delivers a profound kind of mystery.
10. Every gesture is immediate, and every gesture seems eternal.

Sergio Leone's epic crime drama is visually stunning, stylistically bold, and emotionally haunting, and filled with great performances from the likes of Robert De Niro and James Woods.


1. Documentary about 1960s violent terrorists/committed freedom fighters is a blast about the past that's not just a museum piece.
2. Filmmakers Sam Green and Bill Siegel tend to shy from tough questions, allowing their subjects to wax nostalgic about bomb-throwing as yet another youthful folly of the '70s.
3. This terrifically smart and solid piece of filmmaking lets the former Weathermen, now in their 50's and older, speak into the camera and reveal a bit of their personal histories as well as what the peace movement meant to them.
4. Sam Green and Bill Siegel's often gripping documentary manages to evoke the particular quality and extent of the madness that possessed many Americans during the course of the longest foreign war in the nation's history.
5. Tells the movement's tale dramatically and dispassionately, brilliantly juggling the demands of historical accuracy, ideological balance, and sociological perspective.
6. If names such as Bernadine Dohrn, Bill Ayers, Mark Rudd, Naomi Jaffe and Brian Flanagan mean nothing to you, you'll definitely want to see the thought-provoking documentary, The Weather Underground.
7. The Weather Underground leaves the viewer with many questions. To the filmmakers' credit, most of them are the right and urgent ones to ask.
8. Failed to ask one interesting or tough question.
9. intimate insider portrait of the radical Weather Underground in the context of its times
10. Bob Dylan said that you didn't need a weatherman to know which way the wind blew. He's still right.

Write a one sentence summary of the reviews above.

Fascinating documentary about the militant Weathermen.


1. I really wanted to like this film. I respect Wes Anderson and his distinctive voice as a writer-director ('Rushmore' is one of my favorite films of the 1990s), but this latest endeavor is so precious and self-aware that it nearly smothers itself.
2. No one has an eye or sensibility like Anderson's, but this is a chilly disappointment. The unaffecting kids are meant to be the emotional center, yet the adults steal the film.
3. Among the all-stars, Edward Norton made me repeatedly chuckle, and it's always a pleasure to see Bruce Willis when he's not operating in paycheck-whore mode.
4. Anderson and his actors are able to convey more genuine feeling through these devices than most filmmakers can with more-traditional means.
5. I loved every second of "Moonrise Kingdom."
6. The usual complaints and caveats about Anderson - he's precious, his characters have no grounding in the real world - can be made about Moonrise Kingdom, but so what?
7. The latest unadulterated delight from Wes Anderson, director of "Rushmore," "The Royal Tenenbaums" and "Fantastic Mr. Fox."
8. This is a Wes Anderson film. It's gonna be quaint. It's gonna be wry. It's gonna look just like Anderson's other features. But is that such a bad thing?
9. One knock against some of Anderson's previous efforts is that they're too clever - so clever, in fact, that the humanity gets sucked out of them. That doesn't happen here.
10. Moonrise Kingdom’s heartfelt search and rescue of a feel-good result provides a perfect, even musical counterpoint to its regimented summer camp.

What is a brief summary of the following reviews?

Warm, whimsical, and poignant, the immaculately framed and beautifully acted Moonrise Kingdom presents writer/director Wes Anderson at his idiosyncratic best.


Write a one sentence review of the movie "bowling for columbine".

Though it may not always convince, Bowling for Columbine asks important questions and provokes thought.