The critic consesnsus is: The light-hearted romantic comedy Jump Tomorrow charms with its whimsy and sweetness.. What reviews supported this critic consensus?

1. Becomes increasingly charming as it goes along.
2. Doesn't so much charm as insinuate; like its female protagonist, it's under your skin before you know it.
3. Very sweet.
4. The performances are extremely good, and the tone maintains a droll continuity throughout.
5. It cheerfully if often recklessly leaps across barriers of race, culture, custom and habit to assure viewers that love, after all, conquers all.
6. Hopkins' whimsical, breezy visual style and light touches carry much of the movie.
7. The film takes its multiethnic casting for granted, and the earnest Adebimpe gives the comically pleasing impression of a man uncomfortable in his own skin.
8. If you can't walk away from this film with a smile on your face, you'd better keep right on walking to your shrink's office.
9. A delightfully deadpan comedy about the liberating power of love.
10. A sweet little oddity that ultimately leaves you -- and George -- with a smile.


Which movie is the following review about?

An intriguing package of faux trailers and senseless violence. Rarely is there a film that is so unquestionably enjoyable. Might give the '70s grind house flicks a good name.


The critic consesnsus is: Unconventional and refreshing, this strikingly un-Hollywood film takes a quiet and heartbreaking look at the warmth and inspiration of friendships lost.. What reviews supported this critic consensus?

1. As heartbreaking as grief itself and as unexpectedly lovely as that warm certainty that our beloved friends and family continue to inspire us even after they're gone.
2. Draws a consistently witty and heartfelt portrait of contemporary British lives.
3. Would perhaps make a watchable pilot for a drama series. As a feature film, it's dull.
4. For these gifted directors and their fine ensemble, the notion that every life forms into a mosaic of intimate, largely unobserved details is the story most worth telling.
5. It is so adroit in its structure, so insightful in how it explores its vivid characters that it forces us to acknowledge not only how complicated all lives are but also how easy it is to be self-centered and miss those complications in everyone else.
6. Writer/directors Neil Hunter and Tom Hunsinger (Boyfriends) have crafted a circular triptych which changes audience perceptions of people, places and things depending on whose point of view we see them from.
7. It's frustrating because it is so well made and acted but can never find much of anything to say.
8. It's dedicated to a fuller understanding of the human condition, a deeper appreciation of everything we take for granted in even the messiest melodramas.
9. It thins out until the repetitive format begins to seem, well, repetitive.
10. The characters are full-bodied and authentic, capable of surprising themselves, and their dialogue is written with a good ear for how smart people try to be truthful and secretive at the same time.


1. As education by anthropomorphism goes, Maus this ain't.
2. ...Serves its purpose as end-of-the-summer entertainment for the young ones...it will likely be viewed once and forgotten in favor of other films with better repeat value.
3. The slapdash construction and narrative inconsistencies, however, aren't nearly as damaging to this aerial adventure as the general mediocrity of its animation.
4. A cornucopia of British character actors enliven this flashback to the war movies of yesteryear.
5. A nice half hour documentary on the Discovery Channel would have sufficed quite nicely and been much more entertaining.
6. People who liked the Shrek flicks may actually try to prove their sophistication amongst themselves by rejecting this pale imitation of an embarrassing cultural artifact.
7. modern kids won't get any of the World War II references, and to be honest, the rest of the adventure is mediocre at best.
8. Will engage your little ones minimally while in the theaters but will leave them without any desire to get the DVD later in order to see it again.
9. Doomed by its script to a sort of tedious mediocrity, this pigeon's as dead as a dodo.
10. This movie's aesthetics seem governed by its bottom line: The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
What is the consensus?

Valiant has a good collection of voice talents, but the story is strictly by-the-numbers.


Write an ordered list of reviews about "prisoners 2013".

1. Nothing more than a cheap thriller with some pseudo-philosophical nonsense tacked on.
2. It's the imitation-David Fincher pretentiousness that gets on my nerves.
3. ... when Dover's efforts reach a sadistic level the film's flaws become more noticeable. It feels like Villeneuve stretches out nearly every scene ...
4. Dark subject matter like this feels that much more perverse when it's totally phony.
5. A terrific thriller, shattering domestic drama and probing character study in a single package.
6. The directorial instincts of Villeneuve lean toward the lurid, though he seems to think he's making a grand and brooding statement about the human condition. Prisoners is a compelling but unpleasant film, captive to its own schlocky hubris.
7. Just when you think it is over, IT GETS BETTER!
8. Thriller and drama enthusiasts should find plenty of powerful performances and rich story material to make Prisoners an exhilarating and penetrating theater experience.
9. The film's art-house sensibility separates it from your run-of-the-mill studio melodrama, as does the care Vileneuve takes to create multidimensional and complex characters whose flaws are at times reprehensible, despite their altruistic motives.
10. Ethical exploration or exploitation? In the end, I come down reservedly on the former side: the work done here by Jackman, Gyllenhaal, and especially Villeneuve is simply too powerful to ignore.


Summarize the following movie reviews:

1. A good cop movie.
2. A solid, hard-hitting, but not particularly original genre flick.
3. Marred only by a mildly disappointing ending, it's a smart, hard-hitting drama.
4. Jason Patric and Ray Liotta make for one splendidly cast pair.
5. A truly great B movie.
6. One of the harshest cop stories ever filmed.
7. There are things to admire about Narc, but they're individual things, not the movie as a whole.
8. Nothing particularly special or memorable - even the 'surprise' at the end isn't especially surprising -- the film competently tells it tale.
9. Writer/director Joe Carnahan's grimy crime drama is a manual of precinct cliches, but it moves fast enough to cover its clunky dialogue and lapses in logic.
10. With gritty, in-your-face camera work, fast-paced cutting and energized performances, Joe Carnahan's Narc brings new life to the time-worn police thriller.

Jason Patric and Ray Liotta are electrifying in this gritty, if a little too familiar, cop drama.


Summarize the following movie reviews:

1. Director Brad Silberling can't seem to decide whether he's making fun of the show's cheesy visuals or seizing on its sense of roughhewn adventure.
2. McBride and Ferrell, who seems content to spin his wheels in vehicles that indulge his passion for stripping and dumbing down, are gifted performers. Here, they are given little to work with, and deliver accordingly.
3. Why remake a property when the demographic you're aiming at would have almost no familiarity with the original? Wouldn't it be enough to just hire someone to write a movie with Will Ferrell and dinosaurs and be done with it?
4. This only intermittently amusing film isn't going to win over any new fans of the divisive Will Ferrell.
5. An amusing and incredibly strange experience that might have you laughing at the ballsiness of pulling something as crazy as this off.
6. Land of the Lost is only one hour and 36 minutes long, but it could easily be 15 minutes shorter without the scenes of Ferrell's meandering ad-libs.
7. Will Ferrell justifies his outsized fame in this surprisingly bizarre and dirty adaptation of the campy '70s TV time-travel classic.
8. Land of the Lost becomes an endurance test -- one that's too borderline bawdy for families and too dull and rote for anyone over 15. Who, exactly, is the intended audience for this drivel?
9. An oozing slice of stink from director Brad Silberling, writers Chris Henchy and Dennis McNicholas and star Will Ferrell.
10. A mostly funny bowl of Dumb with the nutritional equivalent of all those giant bowls of Froot Loops you ate while watching cartoons back in the day.

Only loosely based on the original TV series, Land of the Lost is decidedly less kid-friendly and feels more like a series of inconsistent sketches than a cohesive adventure comedy.


1. Despite the modernist incantation, the Ephrons' boob-tube spoof feels like they've channeled a dusty rerun.
2. As a light-hearted, silly movie that didn't try to be anything else, it was funny enough.
3. The best way to describe this attempted "revival" of the popular TV series? How about bland, boring and bothersome?
4. ...it is the ineffective writing that wrings all the magic out of a concept that should have produced at least a mildly pleasing summer comedy.
5. Bewitched becomes a love story about the unknowingly self-consumed - Idiots in Love. Even the sappiest viewers will have a hard time rooting for them.
6. This comedy might make you smile but won't leave you spellbound.
7. I blame wine-goggles for this mess. And the director is one of our greatest. What was she thinking?
8. Ferrell, in need of a shorter leash, never makes the character any more than a caricature, and Kidman, in a rare comedic role, suffers, too.
9. Kidman is absolutely divine. Ferrell is his usual pleasantly goofy self. A Funky Contrast.
10. Le film ne génčre absolument rien chez le spectateur, męme pas l'amusement le plus primaire.

Write a one sentence summary of the reviews above.

Bewitched is haunted by scattered laughs and a lack of direction.


1. While disaster ensues, the directors have the sense to avoid the obvious, finding trouble in the least predictable of places.
2. Only Human, a vigorously paced modern screwball comedy ... explores family values, and Leni and Rafi's mismatched cultural backgrounds, with a refreshingly light touch.
3. If you don't have a family of believable Jewish characters to begin with, the whole thing falls apart.
4. Moves along briskly, with several laugh-out-loud moments.
5. All too often emphasizes tired, unconvincing shtick at the expense of substance and genuine wit.
6. Sounds like basic sitcom stuff. But the story is carried out with a composure best exemplified by the performance of Toledo, an agile and graceful comic actor who sometimes suggests an owlish Cary Grant.
7. Thoroughly satisfying... manages to tackle its serious moments deftly and without losing momentum.
8. There's nothing subtle about Pelegri and Harari's culture-clash romp, but it's sometimes frantically funny.
9. What could have been an 85-minute tutorial in Judeo-Arab relations is an exuberantly acted farce.
10. [A] cheery, expertly constructed Spanish farce.
Based on these individual reviews, what is the critic consensus?

A cheerfully energetic screwball comedy, Only Human milks laughs from its culture-clash premise.


Which movie is the following review about?

Despite the numerous eye-rolls ... one can't deny [the races] are marvelously shot


Write a one sentence review of the movie "le passe".

Beautifully written, sensitively directed, and powerfully acted, The Past serves as another compelling testament to Asghar Farhadi's gift for finely layered drama.


Which movie is the following review about?

Carefully calibrated to explore the solitariness of a character who cannot let himself be known ... Turns Boy A's very particular story into a scary, universal and wrenching social statement.


Write a one sentence review of the movie "1018891-short circuit".

Amiable and good-natured but also shallow and predictable, Short Circuit is hardly as deep or emotionally resonant as E.T. -- though Johnny Five makes for a charming robot protagonist.


The critic consesnsus is: Despite a strong performance by Queen Latifah, Beauty Shop is in need of some style pointers.. What reviews supported this critic consensus?

1. Latifah is, well, Latifah playing herself -- funny, brash, smart, likable and not willing to take any garbage from anyone.
2. Has plenty of laughs.
3. Without a real story, even a personality as indomitable as Queen Latifah can carry a movie only so far.
4. Despite Queen Latifah and its boisterous cast's best efforts to style the perfect social comedy, Beauty Shop doesn't quite cut it.
5. ...the makeover as therapy.
6. A cramped sitcomlike vehicle, [but Queen Latifah's] royal presence makes this little Ford Fiesta ride like an Escalade.
7. Feel-good entertainment that is no less enjoyable for being somewhat predictable.
8. It's a bouncy, funny picture that I enjoyed -- one that mostly eludes the perils of sequelitis and spinoff-itis, a lusty comedy about the importance of looking good and getting the right scissors in the right hands.
9. Although not a chore to sit through, the whole thing seems rather clunkily thought out and offers precious little worth remembering once the end credits have rolled.
10. Shouldn't Queen Latifah be able to find better projects than an unnecessary spinoff like Beauty Shop?


Write a one sentence review of the movie "pirates of the caribbean on stranger tides".

It's shorter and leaner than the previous sequel, but this Pirates runs aground on a disjointed plot and a non-stop barrage of noisy action sequences.


The critic consesnsus is: Keep the Lights On is a mysterious, sexy journey deep into the love affair of two men that always manages to stay true to life.. What reviews supported this critic consensus?

1. Sachs depicts a once-transient culture stumbling toward a design for rooted living.
2. Bless [Sachs] for eschewing melodrama in favor of tenderness, but his characters are often left adrift in a sea of conflicting emotions.
3. Not only does this film gloriously fulfill the potential that Ira Sachs has tantalized movie-lovers with for years, it also help explains what took him so long.
4. More than just a relationship drama of striking specificity, this is a naked confession about addiction.
5. Authentic...by turns, heartbreaking and hopeful. Thure Lindhardt and Zachary Booth are exquisite.
6. Unerring acting keeps this film honest, so that, while not tragedy, it is true and far from the gay fluff or doom often offered up.
7. It's hard to recall a film so attentive to the uncertain moments in all relationships: the teary Christmas toasts, the slow slide away from patience and tenderness.
8. What makes Keep the Lights On more interesting than your average addiction story is the subtle suggestion that Erik's dependence on Paul and his messes is just as debilitating as Paul's taste for drugs.
9. Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
10. Long before the eighth fraught reunion between this self-serious drama's ultimately mismatched (and uninteresting) gay lovers, you may find yourself tuning out.


The critic consesnsus is: An insightful, energetic blend of Hollywood and Bollywood styles, Monsoon Wedding is a colorful, exuberant celebration of modern-day India, family, love, and life.. What reviews supported this critic consensus?

1. Nair captures the way large family events bring together people who have a lot in common and a lot to disagree about.
2. Thoroughly satisfying, subtle, steamy and as evenly balanced between serious and joyous as the best weddings actually are.
3. Nair just doesn't have the necessary self-control to guide a loose, poorly structured film through the pitfalls of incoherence and redundancy.
4. It sings, it dances, it parties with pride.
5. It's never laugh-out-loud funny, but it is frequently amusing.
6. A feast for the eyes and ears as its story is a banquet for the heart.
7. It glows and sings with color and music, and with the humanity of its characters.
8. One of those joyous films that leaps over national boundaries and celebrates universal human nature.
9. Cinematic home cooking at its most savory.
10. The movie is a whirlwind, chock full of life.


Which movie is the following review about?

Once you accept that Fantastic Four is not trying to be anything deeper than popcorn fare, the ride can be fun -- with an ending more satisfying than Spider-Man 3.

fantastic four 2 rise of the silver surfer


1. Just give Theron the Oscar now. ... Rarely has an actor been given such an opportunity to play so far against type and rarely has she succeeded so well.
2. ... an amazing piece of work.
3. This isn't a portrait; it's a posthumous grounds for an appeal.
4. What takes it to the level of important cinema ... is the central Selby-Wuornos relationship, which turns out to be symbiotic in the manner of the Smith-Hickock relationship in In Cold Blood.
5. Charlize Theron's anguish-in-the-raw is the stuff that Oscars are made of.
6. Constantly, almost pathologically, making excuses and rationalizations for the brutal murderess.
7. almost despicably lazy storytelling... Director / screenwriter Patty Jenkins has tried to humanize a despicable person, and she is completely ineffective at doing that.
8. Because the film filters everything else out but Theron/Wuornos, the performance becomes the end-all, be-all of the film.
9. Charlize Theron has always had the chops...but to date few in Hollywood have seen past her looks. That's about to change.
10. Charlize Theron pours herself into the body and mind of serial killer Aileen Wuornos in Patty Jenkins' devastating directing debut.
Based on these individual reviews, what is the critic consensus?

Charlize Theron gives a searing, deglamorized performance as real life serial killer Aileen Wuornos in Monster, an intense, disquieting portrait of a profoundly damaged soul.


Write an ordered list of reviews about "blindsight".

1. Walker's ending is fudged both in terms of the narrative and the issues, and she seems to come down, a little feebly, on the "heartwarming" side of things. But what an amazing, and bizarre, story.
2. Lucy Walker's documentary is genuinely stirring.
3. You wouldn't believe it as fiction but it really is fairly unadorned fact. It is easy to see awards beckoning, and deservedly so because Walker as a film-maker never puts herself in front of her extraordinary subjects.
4. An important, heart-soaring record of a group of incredibly brave people doing something almost everyone would tell them is impossible.
5. memorable portrait of some truly courageous individuals and previously unrevealed insights to Tibetan culture
6. Along with its strong emotional pull and engrossing personalities, Blindsight also features some breath taking images of the Himalayas, and some nerve wrecking scenes that would make those of us who are afraid of heights to start sweating bullets.
7. Lucy Walker's inspirational, award-winning documentary, which leaves condescension and treacle out in the cold, emerging as one of the year's most illuminating, heartbreaking, and life-affirming movies.
8. The ascent reveals a fascinating clash of values between the more gung-ho Americans (who are determined to reach the top) and the youngsters' remarkable teacher Sabriye Tenberken.
9. Lucy Walker's documentary Blindsight is breathtaking twice over. It leaves the audience gasping like a landed guppy at views of snow-coddled Himalayan peaks under ice-blue skies.
10. How they managed the trek defies belief, but in an art-form where superpowers have become passé, it's a stirring reminder of what human powers, against the odds, can achieve.


1. "Seymour: An Introduction" is a compendium of tutorial anecdotes and poetic aphorisms he's collected over the years. Hawke's approach is apostolic, as if he's recording for posterity the sublime wisdom of a philosophical master.
2. For his debut as a documentary director, Ethan Hawke picked retired concert pianist Seymour Bernstein as a subject. He was a good choice.
3. Ethan Hawke's remarkable documentary puts us in close proximity to 80-something classical pianist Seymour Bernstein, whose funny, touching and vital presence is something you don't want to miss.
4. Focusing on the quiet, assured Bernstein's unassuming but powerful presence, Hawke's film often plays like an attempt to share Bernstein's experience with the world.
5. Works both as a celebration of Bernstein, whose spirit is at once gentle and boldly generous, and as a way of exploring creativity and the meaning it can have in our lives.
6. The film claims to be an introduction, but it's really a long series of conclusions.
7. Seymour Bernstein's playing is technically marvelous, and in addition, his warm personality transfers to the music.
8. Ethan Hawke's concentration on Seymour Bernstein isn't a betrayal of his own ego massaging, but rather an attempt to have a genuine soul-bearing conversation.
9. A cogent and exquisite documentary about Seymour Bernstein, a classical pianist who has spent the last 30 years of his life passing on his wisdom and counsel to his students.
10. A predictably charming profile of little-known pianist Seymour Bernstein, but it really shines in its treatment of the musician's penchant for mysticism and in its expertly edited Schubert finale.

Write a one sentence summary of the reviews above.

Seymour Bernstein's genuineness shines so brightly in Seymour: An Introduction that viewers will forgive debuting director Ethan Hawke's reverent treatment.


1. Something more substantial than Hollywood's typical, fitfully entertaining fluff.
2. As this movie switches, unevenly, from swashbuckling adventure to classic horror to frilly-shirted romance to campiness to graphic gorefest, there's no telling what you're watching.
3. A bloody mess (in both artistry and gore-level) and is extremely difficult to watch.
4. Branagh doesn't evoke terror, only repulsion.
5. Branagh's directing style is soupy and derivative of all the wrong movies.
6. It's an odd and uneasy mix, but the look of the film is dazzling and the performances are all first-rate.
7. It does ... suggest that Branagh is a filmmaker who is continually extending his reach and truly seeks to reinterpret source material in a uniquely cinematic language.
8. The Creature is on target, but the rest of the film is so frantic, so manic, it doesn't pause to be sure its effects are registered.
9. It is, in a word, dullsville.
10. Uma das mais fiжis e complexas adaptaушes da histзria original, respeitando seus temas principais mesmo que desviando-se, aqui e ali, de pontos especьficos da trama.
What is the consensus?

Mary Shelley's Frankenstein is ambitious and visually striking, but the overwrought tone and lack of scares make for a tonally inconsistent experience.


Which movie is the following review about?

An uplifting and inspiring battle-against-the-odds movie


Write a one sentence review of the movie "no 2012".

No uses its history-driven storyline to offer a bit of smart, darkly funny perspective on modern democracy and human nature.


1. Dazzlingly high filmmaking.
2. Imaginative, energetic.
3. Aronofsky is so compelling, so visionary a filmmaker, he keeps us riveted to his film as tightly as Sara is to her TV set.
4. A fluent, intelligent piece of work whose sex and violence are anything but gratuitous.
5. Virtually the cinematic equivalent of a powerful drug rush and subsequent, crashing withdrawal.
6. Can a movie be banal and highly original at the same time? If so, that movie is Requiem for a Dream.
7. Dream proves a number of things: the audacity of director Darren Aronofsky's eye, the brilliance of Ellen Burstyn's acting and an apparent poverty of discernment or intelligence on the MPAA ratings board.
8. What lifts Requiem above similar movies done during the drug-happy 1970's such as Ivan Passer's Born to Win ... is the frequent but not excessive use of surreal effects.
9. Will put you through an emotional wringer even as you're wondering what the point is.
10. Prepared to be shocked.

Write a one sentence summary of the reviews above.

Though the movie may be too intense for some to stomach, the wonderful performances and the bleak imagery are hard to forget.


Here are some reviews for a movie: 1. Road Trip is not Masterpiece Theater. It's not even Animal House. But it's funny, occasionally witty, and often adventurous beyond its charter. If you can forgive its forays into tastelessness you'll find it an amusing ride.
2. a veritable barrage of potshots at overweight lovers, blind people, clueless sorority sisters, African-American fraternity brothers, unctuous teaching assistants, snarky motel desk clerks, smarmy restaurant workers, innocent white mice and drug-addled sen
3. Road Trip occasionally wills itself to rude, crude life. But most of the time it's pretty limp.
4. Although lively at times, the proceedings are far too perfunctory to generate a 'can-you-top-this' quality. The result is a film that knows some of the words, but not the music.
5. Slightly more mature and better assembled, Road Trip goes one better on American Pie by teasing out the idiosyncrasies in four guys existing in a personality grab bag.
6. Road Trip may not have the all-time-classic status of Animal House, but it's frequently as funny.
7. If you want to see a bit of nudity and a lot of potty humor, Road Trip ought to help you make it through the summer.
8. Road Trip may not be an ambitious film, but it doesn't lack for imagination, and the nasty edge of its comedy makes it refreshing.
9. Road Trip is mellow and dirty, which is the wrong combination.
10. As objectionable as its subject matter is, the most objectionable thing is that it's not funny.

What was the overall consensus about the movie?

Some humor is hit or miss, depending on the audience tastes, but the movie is funny overall. Mixed reviews for the cast, especially for MTV's Tom Green.


Summarize the following movie reviews:

1. It's an affecting, if somewhat flavorless, journey.
2. All in all, Winter in Wartime is an eminently watchable movie, with some complex elements injected into the one war that, in our cultural mythology, is supposed to embody good and evil, black and white, pure and simple.
3. A solid, unhurried piece of work that doesn't provide the adrenaline rush its subject would seem to invite, but may be all the more powerful for its deliberation.
4. If you've seen one slow-motion "Noooooooo!" as a firing squad lets loose, you've seen 'em all.
5. There's the potential for rich psychological head games here, and "Winter in Wartime'' flirts with them before giving itself over to contrivances.
6. Koolhoven humanizes some of the enemy soldiers, but despite a monochromatic palette depicting winter bleakness, he fails to build an atmosphere of urgency or menace to undercut the sometimes corny predictability.
7. Director Martin Koolhoven's film about one boy's struggle to make sense of the absurd - of the inhumanity of war and its effects on everyone around him.
8. Koolhoven doesn't take many narrative chances, but the somber, steely cinematography and convincing performances help to carry the day.
9. Winter in Wartime benefits from top-notch production values and a sturdy performance from its young lead, Martijn Lakemeier.
10. "Winter" makes a complicated war look ridiculously simple.

A gripping, handsomely shot World War II melodrama with thriller elements successfully mixed in.


The critic consesnsus is: A raw, provocative drama about star-crossed love and the lives of immigrants caught between the traditional and modern.. What reviews supported this critic consensus?

1. Isn't exactly a pleasant viewing experience, but it has a passion that's difficult to ignore.
2. The story is beautifully and tragically melancholic.
3. Where too many films depict redemption as a divine right, Head-On has the courage to track a process that generally makes for rough traveling.
4. Shot on location before a picture-postcard view of Istanbul, the musical numbers provide both ironic commentary and much-needed leavening for the story. I would recommend Head-On if only for them.
5. Probably the first reaction is to resist, but that would be a mistake. Head-On is one powerful film.
6. Not easy to watch, the characters are all strongly abrasive, and yet we are emotionally gripped.
7. No matter what is going on in the story, these star-crossed lovers are always fascinating to watch.
8. They might be marginal, they might misfits, but we actually care about those two crazy kids.
9. Raw, impassioned and provocative.
10. Head-On is not for the faint of heart, with its depressive magnetism to bloody violence...[a] twisted, rough-hewn mad-love story.


Here are some reviews for a movie: 1. Schindler's List is a film whose meanings are to be found less in its uplifting outline than in its harrowing flow of images -- images of fear, hope, horror, compassion, degradation, chaos, and death.
2. In a film that is mostly black and white, small touches of color -- a candle flame; a child's coat, bright red -- bring the enormity of the tragedy into excruciating focus.
3. Accurate, heartbreaking masterpiece about the Holocaust.
4. Schindler's List, because it is so finely crafted and authentic, truly allows one to experience the devastating, calculated breakdown of a Polish Jew in 1939 through the end of the war.
5. Accessible ... .
6. This is the film to win over Spielberg skeptics.
7. a beautiful masterpiece... even though it's the hardest movie ever to watch
8. See website for more details.
9. This is a beautifully crafted, hopeful movie.
10. A heart-rending and redemptive Holocaust story, this Oscar-grabbing epic added to Spielberg's directorial credibility, showing he could handle controversial, sophisticated stories with real sensitivity.

What was the overall consensus about the movie?

Schindler's List blends the abject horror of the Holocaust with Steven Spielberg's signature tender humanism to create the director's dramatic masterpiece.


Write a one sentence review of the movie "outside providence".

Miscasted performers and humor miss the mark.


Here are some reviews for a movie: 1. It would be a shame if only kids went to see this film. Adults who can still plug in to their inner rocker, if only to play air guitar, will love it, too.
2. It's one of those films that'll require you to be in a good mood to enjoy, but if you are - you definitely will.
3. A raucous crowd pleaser with a pumping soundtrack, some awe inspiringly talented kids, and perfect comic performances.
4. The bus to the School of Rock runs on one source of fuel, and that is Jack Black.
5. One of the best comedies in years...the film never sells out to itself.
6. Despite Black's reputation as a comedy anarchist, the movie has a big heart, avoids crude indulgence, and gives viewers of all ages something to enjoy.
7. Good cast, good acting, good script, ridiculous premise, good music (if you like rock) equals entertaining movie.
8. It's funny, it's heartfelt, and it just rocks!
9. ...no pace, no backbeat, just Black hamming it up so manically that he makes Little Richard seem like Mel Torme.
10. A musical comedy with more power chords than Jimmy Page.

What was the overall consensus about the movie?

Black's exuberant, gleeful performance turns School of Rock into a hilarious, rocking good time.


1. An unusually cheery movie from veteran British writer-director Mike Leigh; one of the ten best films of 2008
2. Happy-Go-Lucky is flibbertigibbet cinema. Mike Leigh directed Sally Hawkins in this paean to a peahen. Mike Leigh, let me introduce you to Fran Drescher, Kathy Griffin, and Nancy Grace. They're your kind of women.
3. England's addlepated answer to Amelie!
4. Fresh, spunky and well acted. Sally Hawkins is enchanting and the rest of the cast is enjoyable.
5. Few actors could have pulled off this role successfully, as it requires great energy, charisma and depth to make Poppy credible and so much more than first impressions.
6. Sally Hawkins is a comic revelation, an impish, endlessly charming sprite...
7. Leigh's most visually beautiful picture since Topsy-Turvy, Happy-Go-Lucky is all about the clashing and connecting of such emotional biospheres.
8. While Sally Hawkins turns out an award-worthy performance as Poppy, I quickly became bored with her life and all the turmoil surrounding it.
9. You just want to protect her, from the world, from everything, but really she's much stronger than you are.
10. If you leave the theater feeling uplifted (and unless your heart is made of cold gray concrete, you will), it wasn't due to manipulation, but a result of the film having honestly earned it.

What is a brief summary of the following reviews?

Mike Leigh's latest partially-improvised film is a light-hearted comedy with moments that bite, and features a brilliant star turn by Sally Hawkins.


Summarize the following movie reviews:

1. Violent, vulgar and forgettably entertaining.
2. I had a blast.
3. In this refreshingly shameless celebration of money and expensive stuff, director Kevin Bray grabs every retro action-film cliché.
4. Bray is completely at sea; with nothing but a Savage Garden music video on his resume, he has no clue about making a movie.
5. The script clumsily jumps between action and comedy, never successfully blending the two.
6. As violent, profane and exploitative as the most offensive action flick you've ever seen.
7. Filled with low-brow humor, gratuitous violence and a disturbing disregard for life.
8. It's fun to watch the stocky, scowling Ice Cube and skinny, jittery Epps play off each other.
9. Tedious and hackneyed, you would have thought that New Line Cinema could have invested a few more benjamins into getting a workable script before filming commenced.
10. This general territory has been worked pretty thoroughly by Eddie Murphy, Tucker, and Martin Lawrence, and under the circumstances, it's hard for Epps, Ice Cube and company to add anything new.

A sloppy, poorly directed action-comedy, All About the Benjamins is too derivative and gratuitously violent.


Write an ordered list of reviews about "patton".

1. An absorbing, polished character study powered by an epic performance.
2. War is hell, and Patton is one hell of a war picture, perhaps one of the most remarkable of its type ever made.
3. It's Scott's virtuoso performance that carries the film.
4. Superb telling of WWII General George Patton, brilliantly played by George C. Scott.
5. George C. Scott is terrific as General George S. Patton in this blend of intersting biopic and bland war film.
6. Nixon's favorite movie, which proves he was blind to ambiguity as well as a few other things.
7. Scott appears not to act, but to fully inhabit his role, from his profanity spewing down to the swagger of his walk.
8. Scott is simply awesome as the one-of-a-kind General George Patton.
9. The film lays bare the roots of Patton's lust for power in his willingess to sacrifice everything to his vaunting ego, a trait which is mirrored in George C Scott's superb performance.
10. As written by Coppola and directed by Shaffner, Patton bears an ambiguous message, attempting to please right-wing and left-wing viewers, though George C. Scott's powerful performance rises above the film's politics.


1. This is ( ... ) for cinephiles. You are expected to love it, but it sometimes left me scratching my head.
2. For me, it is a masterpiece, a visually stunning explosion of pure cinema, emotionally charged with a penetrating psychological punch. If you are bored by this film, to paraphrase the great Samuel Johnson, then you are bored with life.
3. A dense, baffling, thoroughly original epic that seems to divide viewers on the simple question of what it's supposed to be about.
4. The Master is not short but, once you fill in the blanks, you find yourself constructing a meta-film that, if realised, would play for many, many more hours.
5. Feral, hunched, his face like a clenched fist, Phoenix's Freddie is inarticulate and blocked where Hoffman's Dodd is extravagant, loquacious and smooth, although Dodd's sudden eruptions of anger suggests a possible kinship between them beneath the skin.
6. A bit of a sprawling, repetitive mess, a film that hints at greatness to be sure, but fails to come together in any coherent way ...
7. Insightful and explosive examination of humanity
8. The Master is drags you through the dark flux of a destructive man's clash with a man hell bent on manipulating his universe. It's powerful cinema in every regard.
9. There are gaping chasms in the story and side stories that go nowhere. Yet the power of [Philip Seymour] Hoffman's performance is so hypnotic you forgive the film's faults just to revel in his all-consuming portrayal of a man possessed by his own beliefs.
10. The film draws much strength from the exceptional performances of both Phoenix and Hoffman and the riveting interplay between their characters.

What is a brief summary of the following reviews?

Smart and solidly engrossing, The Master extends Paul Thomas Anderson's winning streak of challenging films for serious audiences.


Write an ordered list of reviews about "what we do in the shadows".

1. 89 minutes of sharp mockumentary hilarity, exposing the oddest of horror motifs and myths to a puncturing modernity. And all this without a single fang pun...
2. Filled with throw away humour and occasional LOL moments of the ghoulish kind, the film's technical achievements help audiences take it seriously while at the same time laughing along with the comedic ideas.
3. The biggest criticism of What We Do In The Shadows is that it's so unrelentingly funny that you'll miss half the jokes through laughing
4. Where this documentary shines is that it creates empathy for its subjects. It's not their fault that they were bitten centuries ago. They're just trying to make the best of the situation.
5. When there's no more room in hell, the dead will move to Wellington, apparently. Director Taika Waititi is joined behind the camera by Flight of the Conchords' Jemaine Clement for the murderously funny mockumentary... This thing is a fiendish delight.
6. What We Do in the Shadows is a sharp little character-driven comedy that gets its laughs not so much from the plot but simply from its cast of weirdos.
7. The question should be, does it have a new thought, a new energy? I would say yes, even without the driving force of a real story. There are moments of unexpected grace, as well as visual invention.
8. Very funny, very silly.
9. Taika Waititi and Jemaine Clement's mockumentary about the undead keeps the genre alive and well.
10. Just like the addictive bloodlust these characters have, What We Do in the Shadows is a film that demands repeated viewings with its ever quotable dialogue and wacky situations where the supernatural meets the mundane to gut-busting results.


Write a one sentence review of the movie "witches of eastwick".

A wickedly funny tale of three witches and their duel with the Devil, fuelled by some delicious fantasy and arch comedic performances.


1. Just enjoy the fun of watching Neil Patrick Harris in his audition for Apt Pupil and roll with it, baby.
2. This is powerful entertainment that appeals to our most basic instincts.
3. Manages to be both fun and shocking -- sometimes in the same shot.
4. Terrific entertainment.
5. Director Paul Verhoeven is back in his subversively nimble RoboCop groove with the uproariously cheeky Starship Troopers.
6. Flawed but fun.
7. As written by Ed Neumeier, who also wrote Verhoeven's much tighter Robocop, Starship Troopers never gets over its 180-degree swivel from teen-age love story to murderous destruction.
8. As a brainless bubblegum movie, it's an exhilarating adrenaline rush.
9. Nobody objects to a simple gross-out proposition on the big screen. But here too, Starship Troopers doesn't quite make it.
10. The action sequences are heavily laden with special effects, but curiously joyless.

Write a one sentence summary of the reviews above.

A fun movie...if you can accept the excessive gore and wooden acting.


Summarize the following movie reviews:

1. Seen today, Eraserhead may make no more sense than it did 30 years ago, but its casually sinister air can now be seen as so much a part of Lynch's mature work.
2. If you can't rejoice in David Lynch, what is there to be happy about?
3. This is a classic, no matter how comfortable it is to watch.
4. What's it about? I can hear you shout. Therein lies the rub: not much really.
5. ...I found this imaginative work to be one of the more interesting films to come out of the '70s.
6. Eraserhead is a film that seems to require interpretation. Answers, however, are so distant that one wonders if they are even intended.
7. Riveting, indecipherable and absolutely bizarre.
8. Offers so much to look into, and decipher for yourself.
9. Compared to the rest of Lynch's work this is a crude assemblage of ideas that would be used to far greater effect in later movies.
10. Lynch, as he does with all his films, refuses to explain anything, although he does say that he has yet to read an interpretation that matches his.

David Lynch's surreal Eraserhead uses detailed visuals and a creepy score to create a bizarre and disturbing look into a man's fear of parenthood.


1. Movies are a visual medium, and not even four dimensions of Ph.D.s are going to change that. Not in this lifetime, anyway.
2. If positive thinking results in computer-animated body cells farting or singing Robert Palmer, our chi, mojo, or whatever has miles to go toward self-actualization.
3. ...a clumsy hybrid of romantic comedy and New Age infomercial that plays like the weirdest driver's education film you've ever seen.
4. Ainda que interessante em sua metade inicial, quando fascina pela ausęncia de respostas, acaba desmoronando ao tornar-se um previsível manual de auto-ajuda.
5. Tries to meld quantum physics with pop philosophy using a bunch of talking heads spliced in with a mediocre narrative.
6. A highly enjoyable, brain teasing elucidation of quantum physics and theory
7. This documentary will either be a life-changing experience, or it'll drive you nuts with its new-agey tone.
8. Though it does influence some spirituality sneakily, and can be pretty ridiculous, it's still a fascinating account of free thinking.
9. There are two minor problems with What the #$*!: it's bad science and it's a bad movie.
10. Lumbering docudrama.
What is the consensus?

Educational, but as entertainment, it'll have viewers asking, 'What the bleep?'


Summarize the following movie reviews:

1. It is too bad that the [scenes that do work] remain only fleeting -- almost furtive -- glances into the lives of the characters, and are not part of a coherent and properly focused story.
2. The repetitiveness is eased only in those sequences when Johnny Depp, Anouk Aimee and Claude Berri make cameo appearances.
3. Whether any of them will live happily ever after is a question you're left pondering long after this challenging film comes to a close.
4. A meditation on the joys and frustrations of monogamy that manages to be a diverting and funny character study at least most of the time.
5. It's French. It's sexy. It's got a killer soundtrack.
6. This is a fetching piece of work, both comical and savvy, and Gainsborough's brisk, forward intelligence rescues Gabrielle from snags of marital self-pity.
7. Happily Ever After is never as insightful or as funny as Woody at his best. But the film has a fine-tuned approach to human behavior.
8. The story in the French Happily Ever After is about as exciting as that bland, mistranslated title. But the filmmaking? Very exciting.
9. Attal is creative in crafting cinematic mood, using focus and camera movements to subtly but deftly enhance and even anticipate emotions.
10. A sour, grating comedy-drama about fidelity and infidelity among the Parisian bourgeoisie...certainly won't send you home with a smile on your face.

Though this French film features good acting, it lacks the wit and charm one would expect to see.


Summarize the following movie reviews:

1. A bizarre yet highly entertaining romp.
2. Hartley is a man with a lot to say about what's going on in the world these days, and while the trademark irreverence is very much intact, his venture into a much broader, international landscape proves more admirable than rewarding.
3. Instead of growing as an artist, [Hartley] seems to be treading water.
4. Tautly written dialogue flawlessly performed by the principals, especially Posey and Goldblum, keeps the film moving along at a speedy clip.
5. Hartley's 1997 allegory about art and celebrity "Henry Fool," which divided critics and never found an audience, gets a loose, uneven updating in this surreal espionage thriller that plays like John Le Carre recast as postmodern absurdist yarn.
6. Everybody's trying too hard--or not hard enough
7. a work with heady theological implications that is brilliant, funny, iconoclastic, and so deeply true that it is almost too beautiful to bear
8. The final, tragically uncomprehending close-up of Posey is perfect in a way Hartley didn't intend. It mirrors our incomprehension at his loss of imagination.
9. What lures the film into disaster, is that [director] Hartley lets slip his sense of humor (always his strongest asset) and begins to believe his own plot.
10. Hartley should stick to what he knows best - the wacky and eccentric, sometimes annoying but exceedingly touching lives of the blue collar world where he grew up, in an extended family of Long Island iron workers.

Fay Grim is too concerned with its own farcical premise to present a coherent, involving story.


Write an ordered list of reviews about "white".

1. There's something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic. But there's also something damp and brown, like the sodden Polish countryside he pictures.
2. White is an excellent character study, and the presentation of a twisted love story is compelling.
3. This White is guaranteed not to fade.
4. A delightfully wry dark comedy.
5. White is the anti- comedy, in between the anti- tragedy and the anti- romance.
6. It's probably the friendliest, most enjoyable movie the Polish filmmaker has made.
7. In White, which details the agonies of obsessive love, [Kieslowski's] story is more realistic, and his style more prosaic, but the results are no less inscrutable -- and no less engaging.
8. A continuing testament to the Polish director's poetic mastery.
9. Kieslowski, who so keenly satirized the crippling excesses of communism in his earlier work, unflinchingly has a go at training-wheels capitalism, but not without affection for the thawing tundra of his beleaguered mother country.
10. Without a luminous presence like Juliette Binoche or Irene Jacob to hold the murky narrative together, it never soars.


1. ...I found the film to be charmingly fun.
2. a dull concoction of literary antiheroes that brings back unwelcome memories of torturous high-school English classes, where even bloodsuckers, shape shifters and buccaneers somehow managed to bore us to tears
3. Part of the pleasure of the film is supposed to be the anachronisms. But most of the fun is in the first part of the film and the anachronisms long outlast the fun.
4. Anemic and forgettable, but not entirely unlikable.
5. Watching LXG is a lot like looking at a set of bad one-hour photos. Blurry, streaked, dark, and incoherent.
6. Only halfway into the summer of 2003, and the most dreadful studio blockbuster of the year finally reaches the multiplexes.
7. Entering this summer's league of ridiculous movies is Stephen Norrington's adaptation of the comic books by Alan Moore and Kevin O'Neill.
8. have we descended so far in American filmmaking that we must now literally scrape the bottom of the superhero barrel
9. ... with few exceptions, the cast is excellent but the story is terrible... "League" still isn't as bad as Sean Connery's "The Avengers."
10. The more you think about the film, the more it falls to pieces. It's riddled with logistical and continuity errors that keep the audience continually uttering 'Huh?'
What is the consensus?

Just ordinary. LXG is a great premise ruined by poor execution.


1. [Pacino's] turn as a low-level mobster is his most relaxed and charming work in years.
2. Tarnishes the shiny veneer of the mob we've seen in earlier movies, holding up its players not as criminal heroes but as cogs in a criminal machine, more worthy of compassion than cheers.
3. In the tired figure of Lefty, manifest in the craggy icon of Pacino, our sympathies are definitely enlisted, and the theme rings a poignant note.
4. The humor and tragedy that Pacino and Depp put on the screen will stay with you.
5. It's a good story and an interesting take on trust and friendship, but Donnie Brasco only works for the first hour.
6. For all its treacheries, twists and turns, nothing really comes as a surprise.
7. Remains a bore for much of its running time.
8. Pacino's performance is great and the story seems to have an interesting take on human nature, but the bland, mechanical direction make it not quite worthy of a full recommendation.
9. Donnie Brasco is 120 minutes of riveting filmmaking.
10. In almost every respect, Donnie Brasco is an original, the unexpected rebirth of an old and oft-told tale.
What is the consensus?

A stark, nuanced portrait of life in organized crime, bolstered by strong performances from Al Pacino and Johnny Depp.


1. It confirms Fincher's status as a film maker who artfully bends technical know-how to the service of psychological insight.
2. Director David Fincher and writer David Koepp can't sustain it.
3. It's a pleasurable revelation to see Foster feel out a role, both emotively and physically, with the well-marshaled gusto that she does here.
4. OK, so we never have much doubt about what will happen, but Fincher pulls out all the visual stops to crank up the heat in this tale of five people in a Manhattan house on one dark and stormy night.
5. ...a skillful special effects thriller with shockingly modest aspirations...
6. For an average filmmaker, this might be a nice addition to a résumé but for Fincher, this is a disappointment.
7. An uneven mainstreaming of Hitchcock and De Palma, Panic Room's thrills are in the right place, but it lacks a damaging psychic impact.
8. From the bravura title sequence ... to tracking shots of the criminals casing their target, Fincher is able to expand artistically while shackled to a claustrophobic setting.
9. Propelled by an excellent cast of five, the film has the look and feel of a classic genre film, with the two female victims trapped in a room, the three male attackers in control, and the motive simply greed.
10. Hugely enjoyable thriller by David Fincher, with Foster back on top form -- stylish, thrilling and nail-bitingly suspenseful, this is top quality stuff...

What is a brief summary of the following reviews?

Elevated by Fincher's directorial talent and Foster's performance, Panic Room is a well-crafted, above-average thriller.


1. It's nice to see a film set in the modern world that lets its combatants punch each other in the skull.
2. Who needs a budget when you can do what Tony Jaa can do?
3. Either you find the goofball, low-tech spirit of the piece entertaining and easygoing or you don't. Either way, Tony Jaa is a force to be reckoned with.
4. Viewers who like refreshingly uncluttered actioners will find reward in 'Ong-Bak.'
5. The film's middle stretch is an unmistakable tour de brute force.
6. What's really going on here is a showcase for 28-year-old Tony Jaa, a martial arts sensation who's hoping to bring attention to the art of Muay Thai
7. In a genre, even in Asia, that's become overwhelmed by digital f/x, there's a real joy in seeing the back-to-basics action that Ong-Bak promotes.
8. Its plot is pretty much standard-issue. But the action is spectacular enough to allow the audience to overlook that problem.
9. Get a load of this guy, the way he leaps over cars, slides under SUVs. Experience the man bringing the pain and unleashing wrath. Gaze with wide eyes at his jackhammer fists.
10. It's too soon to tell if Tony Jaa has the the ability to sustain an interesting career, but he's off to a hell of a start, regardless.

Write a one sentence summary of the reviews above.

While Ong-Bak: The Thai Warrior may be no great shakes as a movie, critics are hailing the emergence of a new star in Tony Jaa, whose athletic performance is drawing comparisons with Bruce Lee, Jackie Chan, and Jet Li.


1. This isn't anywhere strong enough to make you forget the Hunger Games series.
2. Won't win any awards for originality, but it carries the familiar adventure along efficiently, generating sufficient excitement to keep one from dreading the next chapter.
3. It's exhausting, yet emotionally unengaging.
4. None of these characters receives enough screen time to develop relationships with us or each other.
5. This middle chapter cannot quite escape the feeling that it is pre-finale filler.
6. Action overflows, some of it neatly staged but none of it telling us anything beyond "Go! Go! Go! Run! Run! Run!" Stay home, stay home.
7. This is supremely silly stuff, and overall a much lesser version of teens versus the titans of post-apocalypse industry -- a copy of a copy of a copy.
8. The young leads lack charisma, and the veteran supporting players seem to be phoning it in.
9. After an hour and a half of mechanical 10-minute action cycles that start with, "Maybe we're safe now, for the moment," and end with "Aaaah! Run!" the pattern gets as wearying as the level of emotional brutality.
10. The material may be cardboard, but the actors do what they can.

What is a brief summary of the following reviews?

Maze Runner: The Scorch Trials is an action-packed sequel at the cost of story, urgency, and mystery that the original offered.


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

Despite The Rock's abundant charisma, The Game Plan is just another run-of-the-mill Disney comedy.


1. A sharp parody worthy of MAD Magazine. [It] runs through every tired showbiz biopic plot point with a shiny new skewer.
2. So is it a satire or a spoof?
3. It's not pee in your pants funny, but it does have it's moments and for the most part it works.
4. If only for the music numbers, this movie deserves a standing ovation. Much of the credit goes to John C. Reilly, an actor with a rubbery face and the voice of an angel.
5. Tone is crucial here, and Kasdan and Apatow manage a good balance, delivering silly and often crude comedy combined with sincere performances and a sense of smart craft.
6. The result is a film that has a few winning and entertaining moments, but ultimately feels like a Will Ferrell comedy and/or a 'Saturday Night Live' skit that managed to grow out of control
7. At very best, someone will recognize the good work here by the star of the show, John C. Reilly... What's taking so long? Give the man an award already!
8. This gleeful skewering of American popular music works because of the talents of director Jake Kasdan and a cast led by John C. Reilly.
9. It may be utter nonsense from start to finish but at a time when your moviegoing choices are limited to deeply serious Oscar bait and silly family froth, its appearance comes as a raunchy relief.
10. Very funny when focused on being a parody, but goes for the cheap laughs and shock jokes too often
What is the consensus?

A parody that pokes fun at rock stars and reductive biopics alike, this comedy sings in large part because of stellar performances and clever original music.


1. White Heat (1949) is one of the top classic crime-heist dramas of the post-war period. White Heat is an entertaining, fascinating and hypnotic portrait
2. None of Jimmy Cagney's superlative gangster films of the 1930s approaches this supercharged production.
3. Cagney is unforgettable in this fascinating, brutal drama
4. Cagney is a force of nature in this movie, alternately frightening and pathetic.
5. Film noir masterpiece, with brilliant direction and visual style
6. Raoul Walsh's Freudian film is one of the fastest and toughest crime-gangster films ever made, boasting a bravura performance from James Cagney as a misogynist mama boy ("top of the world, Ma").
7. Raoul Walsh's heroes had a knack for going too far, but none went further than James Cagney in this roaring 1949 gangster piece.
8. Magnificent examination of the criminal mind and Cagney's finest moment.
9. Cagney has an excellent supporting cast.
10. Brilliantly directed by Raoul Walsh, an old master of cinema hoodlumism, it returns a more subtle James Cagney to the kind of thug role that made him famous.

Write a one sentence summary of the reviews above.

Raoul Walsh's crime drama goes further into the psychology of a gangster than most fear to tread and James Cagney's portrayal of the tragic anti-hero is constantly volatile.


1. It's cheerful, slightly cheesy entertainment!
2. There is hardly a thing I can say in its favor, except that I was cheered by nearly every minute of it.
3. Brainless fun!
4. The Mummy, quite shamelessly, combines the imagery and serialized thrills of the Indiana Jones movies with the frenetic special-effects energy of the Evil Dead movies, and has quite a bit of fun in doing so.
5. A weightless, instantly forgettable picture!
6. A gaudy comic video game splashed onto the screen!
7. Jump back, monster-mashers; The Mummy mambos!
8. It's the quintessential summer movie: noisy, spectacular and disposable.
9. A well-crafted, great looking adventure, with some spirited performances!
10. Action-packed, fun.
Based on these individual reviews, what is the critic consensus?

It's difficult to make a persuasive argument for The Mummy as any kind of meaningful cinematic achievement, but it's undeniably fun to watch.


1. [Those] with a weakness for dry heroism, dark-toned humor, and storytelling of pantherish pace and grace -- in short, lovers of cinema -- should reach for their fedoras, turn up the collars of their coats, and sneak to this picture through a mist of rain.
2. It is arguably the tensest, hardest-edged movie of Melville's career ... and that's saying something.
3. Melville stages riveting set pieces, tense little nuggets of men striking in the dark and dealing out death.
4. A morally ambiguous look at the necessity, the perversity and, sometimes, the generosity of death during wartime.
5. Melville outlines the valorous and dirty deeds of heroes in taut action sequences that reach unusually existential heights. [Blu-ray]
6. Masterfully made, with no detail unattended.
7. ... the most meaningful atmosphere of exquisite suspense you're likely to see at the movies this year. Or most years.
8. Watching it evokes a combination of pity for [the protagonists'] naive idealism and awe at Melville's uncanny brilliance.
9. The result is in many ways the height of Melville's splicings of daredevil, adventure-story heroics and exceedingly grim twists of fate.
10. Movies don't get any better than this.
Based on these individual reviews, what is the critic consensus?

Originally made in 1969, this recently reissued classic is a masterful examination of the inner workings of the World War II resistance efforts.


1. The early promise of Henry's Crime wanes as its efforts to splice crime caper with backstage drama becomes increasingly laboured. But with the cast on their game, the film just about gets away with it.
2. There is a lot of plot in Henry's Crime, although there's nothing you couldn't second-guess and while Farmiga is delightful and Caan a joy the end result is unremarkable.
3. Henry's Crime has a little too much in common with its aimless namesake.
4. It's a
 grab bag of comic clichés about bank robberies and regional theater.
5. Close but no cigar.
6. You wish anyone on either side of the camera had a cup of coffee and then the energy to throw out weak scenes and flawed motivations while picking up the pace.
7. The gleam in James Caan's eye is about all that illuminates this moribund comedy about a ring of Buffalo hoods who infiltrate a Buffalo staging of The Cherry Orchard.
8. A great cast is wasted on an uninspired script that's frustratingly executed by director Venville.
9. There's a certain ingenuity in the way the plot of Chekhov's play becomes interwoven with the robbery, but for the most part the producers seem to be aiming at, and almost achieving, MFI - maximum feasible implausibility.
10. [VIDEO] wonderful performances from James Caan, Vera Farmiga--and yes even--Keanu Reeves, are the reason to see this movie.
What is the consensus?

Supporting actors Vera Farmiga and James Caan give the movie a little heft, but Henry's Crime is an otherwise predictable heist/comedy with slow pacing.


1. OK, the plot verges on absurdity - but who cares?
2. Not only one of Preminger's greatest, but one of the great noirs.
3. A classic thriller/whodunit of the 1940s. Unfortunately, it remains solidly in the past.
4. Preminger made darker, more characteristically noir films than this, but his only movie that's as good, or perhaps better, is Anatomy of a Murder.
5. Masterpiece: with time, Preminger's second film has become richer in texture and deeper, more ambiguous in meaning than most noirs of the 1940s.
6. Preminger deals in facades, with how perception cheats us, right down to the ideal image of Laura as a portrait. (CinжmathУque Annotations on Film)
7. A feverish trance wrapped in a deadpan investigation
8. A thrilling, absorbing and original example of the genre; it's also beautifully shot, pure escapist entertainment.
9. Laura is still every bit as gripping in 2012.
10. The dialogue is stinging and the performances to be savoured in a haunting study of romantic obsession that deserves its return to the big screen.

What is a brief summary of the following reviews?

A psychologically complex portrait of obsession, Laura is also a deliciously well-crafted murder mystery.


Write an ordered list of reviews about "last chance harvey".

1. Perhaps not the most mesmerizing of love stories, Last Chance Harvey submits one of the most richly acted illustrations of attraction found this year.
2. Last Chance Harvey certainly won't rank among the better script selections made by this impressive cast.
3. Besides being old pros who could elevate such schmaltz in their sleep, Hoffman and Thompson have a genuinely sweet chemistry, which is the exact and only reason to seek this one out.
4. A slight and implausible romance that nonetheless has moments of charm, thanks to its stars. Unfortunately, that's not quite enough.
5. Feigns serious interest in the trickiness of later-in-life love while indulging in corny humor and even worse bathos.
6. One reacts to Joel Hopkins's Last Chance Harvey with about the same level of revulsion directed at its titular character by the people around him.
7. A wonderfully romantic movie that you don't have to be in your 40's or older to appreciate and enjoy.
8. Last Chance Harvey is a standard-order romantic comedy with a couple of unusual ingredients that make it worthy of notice.
9. Entirely satisfying, and a perfectly worthy use of 100 minutes. There are points in life when it does not do to ask any more of a film than this.
10. Dustin Hoffman is subtly brilliant, Emma Thompson is tremendous, and writer/ director Joel Hopkins deserves our thanks for creating such a gentle, wonderful film.


1. Writer-director Andrea Arnold has created something so real and raw, you may come away with a twinge of guilty voyeurism, a sense of peering too closely and impolitely into other people's lives.
2. Writer-director Andrea Arnold, working in British lower-class realism, still finds wondrous moments of connection in Mia's life.
3. [M]arvelously disturbing... There is nothing but unrefined authenticity on display here, in yet another astonishing example of the new British cinematic realism...
4. The one really compelling reason to see it is the startlingly vivid performance of Katie Jarvis, a newcomer.
5. Comes off like Mike Leigh minus the humor and human insight
6. Katie Jarvis has a natural presence that matches the unsentimental minimalism of the film.
7. It's not nearly the film that Red Road was, but it forces us to continue to watch its creator with a keen eye.
8. Fish Tank isn't an easy watch - it's like two hours of ache - but there are rich rewards to be had in the many ways Arnold and her terrific team rend us to and fro.
9. Andrea Arnold is too skilled not to surprise you with the unexpectedly graceful moment, and she has a feel for the downtrodden milieu she loves exploring.
10. [A] miraculous study of adolescence... putting honest, raw, pained humanity before our eyes without apology.
What is the consensus?

Cannes Jury Prize-winner Fish Tank is gritty British realism at its very best, with flawless performances from newcomer Kate Jarvis, and Michael Fassbender.


Write an ordered list of reviews about "1153228-the ringer".

1. "The Ringer" wants to be all things to comedy audiences. It actually pulls this off about half the time.
2. Nobody gets hurt, it doesn't make sense, and no one has any real fun either.
3. Do yourself a favor and rent a very campy Radio instead.
4. More offensive than the poor humor and bad acting...is the cheap arm-twisting created by making this film serve double duty as a promotional piece [for the Special Olympics].
5. What's next in store for the twisted tandem (The Farrelly Brothers)--psychotic Katrina Hurricane victims that like to surf in sewer water?
6. a marshmallow script that takes no risks with the material
7. When The Ringer was over, my world hadn't changed, but there was a smile that remained on my face.
8. It wants to be outwardly bawdy, but is the furthest thing from it.
9. ...skillfully handles its sensitive subject by turning the tables on its characters.
10. The real appeal of The Ringer is how this scrappy bunch rallies together like the nerds in Revenge of the Nerds.


Which movie is the following review about?

Sleeping Dogs Lie -- a/k/a "the dog blowjob rom-com" -- planted the seed (OK, wrong choice of words) that Goldthwait wrings tender humanity from disturbing premises, but his scandalously entertaining new satire proves a darker, funnier success.


Here are some reviews for a movie: 1. A gorgeous and empowering movie for preteens that not only enchants but tells a moving fable about tragedy, courage and transcendence.
2. The genius of the movie is the way is sidesteps all of the obvious cliches of the underlying story and makes itself fresh, observant, tough and genuinely moving.
3. It's an engaging, well told and moving tale.
4. Castle-Hughes ... combines tribal pride and modern feminism, with gentle strength and the 'natural' talent some children possess.
5. Features one of the finest child performances in years.
6. A thoughtful, vivid spiritual coming-of-age story that transcends its particular cultural context.
7. At its transporting best, Whale Rider seesaws between archetype and innocence -- it's a re-founding myth that happens in real time, before an audience's wondering eyes.
8. Has the feel of a great and rare children's movie.
9. Watching this delightful film, one can see why it has been winning audience favorite awards at film festivals.
10. Think of all the images of girls in U.S. pop movies -- so halter-topped, so perfectly coiffed and appointed, so self-consciously cute, so Mary-Kate-and-Ashleyed. Pai is none of that but much more.

What was the overall consensus about the movie?

An empowering and uplifting movie, with a wonderful performance by Castle-Hughes.


Write an ordered list of reviews about "taxidermia".

1. Despite non-stop horror and perversity, nothing in the movie seems gratuitous. Its vision remains so comprehensive and convincing that it justifies everything that it puts you through.
2. if the imagery is always grotesque, and if the characters are always reduced to their basest drives, Pálfi presents his carnivalesque concerns in an artfully aestheticised package that belies the ugliness within.
3. It's an allegory of sorts, and very different from the fastidious golden age of Hungarian cinema in the Seventies and Eighties.
4. The new film will ambush the unwary, appal the squeamish and get unwanted attention from the prurient. But it has a signature, a wit and a kind of grim strength.
5. It's one of the most astonishing, energetic, chaotic films you'll ever see. And best of all, it could make you decide to give up the diet forever.
6. What is most impressive is Palfi's imagination and the way he develops it on the screen. Gross-out it may be, but there's rather more to it.
7. It breaks taboos with an insouciance that makes Last Tango look like Mary Poppins.
8. You'll need to drag it kicking and screaming from your mind.
9. THE advantage of being The Sneak is that sometimes you can also sneak out of a film screening.
10. Overall, this is a desultory, schizophrenic film that doesn't seem to know what it is.


Which movie is the following review about?

Bullock downplays her trademark mannerisms and allows her character to take precedence.


Which movie is the following review about?

Uneven in tone and pacing, Larry suffers from an identity crisis, unsure whether it's a wacky, back-to-school comedy or a bittersweet portrait of two lost souls at the crossroads.


Which movie is the following review about?

While the film kept my interest to a degree, it was more out of sheer curiosity of how much sillier writer/director Joby Harold would make the thing.


Which movie is the following review about?

Smart, satirical and nefariously vicious, this is easily one of the finest sci-fi flicks of the 1980s.


Which movie is the following review about?

Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.


1. Ronit Elkabetz gives a lively and at times moving performance as Viviane.
2. Smooth, subtle and continually disturbing.
3. Methodical and agonizing, much like the five-year dispute it depicts.
4. The divorce-centered drama is so provocative it's become a lightning rod for debate inside the country. Even watching from a distance is unnerving.
5. How this did not beat out "Ida" for Best Foreign Film at the Oscars last Sunday I will never understand.
6. Gett has a formal rigor that works like a vise.
7. This all might be laughable if it wasn't based on the very real facts of the Israeli court system, which as portrayed here is like Kafka without the surrealist trappings.
8. Though there is no action, there is vibrancy to the dialog that enthralls for the duration of the film.
9. Sibling writer/directors Ronit & Shlomi Elkabetz turn a spotlight on an Israeli women's rights issue using drama, comedy and farce in a stylized courtroom procedural like no other.
10. The kind of tragic and absurd blend that can only be labeled as Kafkaesque.
Based on these individual reviews, what is the critic consensus?

On paper, GETT: The Trial of Viviane Amsalem might seem less than thrilling, but on the screen, it delivers two hours of nonstop, tightly wound, brilliantly acted drama.


1. Hopkins and Banderas are very different sorts of actors, and here, in very different ways, each pulls off his role expertly.
2. The Mask of Zorro typifies what a good summer popcorn movie can be: an action-packed adventure with an actual plot and interesting characters!
3. At its best, this 'Zorro' captures some of the dizzyingly romantic flavor of pulp fiction. ...Unfortunately, Martin Campbell has directed this Mexican melodrama in an often uninspired fashion.
4. A surprisingly good example of Hollywood's craftsmanship.
5. Crisp and competent and often witty, but it only does what it's supposed to do; it's never quite inspired or exhilarating...
6. The Mask of Zorro stands as a pointed riposte to those who say they don't make 'em like that anymore.
7. This is the best movie version of Zorro to date, and High-Definition makes it that much more exciting.
8. Simplistic but sprawling action film...
9. Zorro follows the predictable paths of action movies, but re-energizes the pattern with adrenaline, exuberance, creativity, and humor.
10. Buckling the swash in a way approaching Errol Flynn, Antonio is up for the action and handles the slapstick as the inept student with aplomb. The romance between him and Zeta-Jones has sparks, too.

What is a brief summary of the following reviews?

Banderas returns as an aging Zorro in this surprisingly nimble, entertaining swashbuckler.


1. This mutt of a movie is a real stinker.
2. See Spot Run is just an old dog whose few new tricks are stupid or disgusting.
3. Movies like this demonstrate that when it comes to stupidity and vulgarity, only the best will do for our children.
4. See Spot Run not only exceeds low expectations, but it's also even a pleasant surprise.
5. See Spot Run is so guileless and good-natured that you may just find yourself enjoying it almost half as much as the child who brought you along to the movie.
6. Ten writers! So many writers to make so little!
7. There's a general air of good-naturedness about this movie, a cartoonish spirit that informs the proceedings.
8. By the time the film ends, everyone -- and I mean everyone -- has been humiliated, abused, and generally reduced to Gordon's level of inanity.
9. The kind that's punishment for weekend dads and whatever adult they drag along to help them keep their wits while the kids scream for more poop humor.
10. The result plays terrifically with an all-ages crowd.
Based on these individual reviews, what is the critic consensus?

See Spot Run has all the elements chidren enjoy in a movie: a lovable dog, bad things happening to stupid adults, and lots of dog poop. For adults, it's either hit-or-miss.


1. Check up another smash hit for a fine and experienced team.
2. This brilliant Hitchcock offering combines romance, suspense, and international intrigue with unforgettable performances from Grant and Bergman.
3. Notorious (1946) is a classic Hitchcockian post-war psychological suspense/thriller. The basis of the film came from the 1921 Saturday Evening Post two-part
4. the best of Alfred Hitchcock's espionage thrillers and one the strongest works of his extensive cinematic career
5. Alfred Hitchcock's most openly sensual film.
6. The suspense builds continually, operating on multi-layers...
7. Occasionally too slow, but compelling
8. If Rear Window was brilliant because of how deep it was, and Vertigo was brilliant for how existential it was, Notorious is brilliant because of how simple it is.
9. There is also, of course, virtuoso direction from the master.
10. A top-rate film noir.

What is a brief summary of the following reviews?

Sublime direction from Hitchcock, and terrific central performances from Ingrid Bergman and Cary Grant make this a bona-fide classic worthy of a re-visit.


1. Takes us on a journey into the special domain of childhood, a voyage joyous, shattering -- and supremely convincing.
2. ...profoundly moving and bittersweet
3. Nobody Knows has a haunting quality that is all the more effective for its deceptively everyday appearance.
4. Director Hirokazu Koreeda lets his film run on too long, but he gets naturalistic performances from the nonprofessional actors. He also manages to make a docudrama about abandoned kids seem pretty darn poetic, and that's no small feat.
5. Unfolds with such leisurely, terrible beauty, it takes a while to realize that what we are witnessing is the children's long slide into beggary, exacerbated by the slow torture of faint hope.
6. The trouble is that with its lengthy running time Nobody Knows becomes grueling and drawn-out.
7. Hypnotic movie.
8. I certainly came out of Nobody Knows feeling numb; only later, reflecting on the fact that the movie was inspired by a true story, did it occur to me that the numbness could have been deliberate, and that what suffused this picture was a mist of anger.
9. "Nobody Knows" is, in fact, heartbreakingly sad. But it is also fascinating and, oddly, often a joy to watch.
10. Nobody Knows constructs two parallel universes: A realistic world of everyday activities, set apart from a more subjective world of fantasy and imagination.
Based on these individual reviews, what is the critic consensus?

Tragic and haunting, a beautifully heart-wrenching portrait of child abandonment.


Which movie is the following review about?

A real winner -- smart, funny, subtle, and resonant.


1. The epitome of CGI's best and worst attributes.
2. delightfully anachronistic piece of digital mastery
3. ...takes the audience to the Shangra La of Lost Horizons, the undersea world of... 20,000 Leagues Under the Sea, and straight to King Kong's Skull Island.
4. Occasionally threatens to collapse under the weight of its own production, but all in all it's an exhilarating experience, and raises the bar for the use of digital technology in film.
5. It should feel like Star Wars, yet it fails to feel like a movie at all. Conran has done his work almost too well. It's as if you're sitting in front of an outsize comic book with a speed reader as page-turner.
6. The clincher is how the actors are reduced to puppets and ciphers; Paltrow straight-jacketed in her Hildy Johnson-style two-piece and the evidently bored Law reduced throughout half the movie to giving the gimlet eye through flying goggles.
7. For its writer-director, Sky Captain was a labour of love. For almost everyone else -- including the wooden cast -- it's just a labour.
8. Director Kerry Conran hasn't just mimicked his favorite serials and comic books. He's written a love letter to the full scope of 1930s and '40s films by basically making one.
9. It's the story that gets in the wayof this magic show, coasting along a much more awkward path that finally hardly seems to matter.
10. This debut feature by Kerry Conran is a triumph not only for its technical mastery but for its good taste.
What is the consensus?

Sky Captain and the World of Tomorrow is slim on plot and characterization, but the visuals more than make up for it.


Summarize the following movie reviews:

1. I think at this point somebody needs to tell Robin Williams that the whole white-guy hip-hop routine was played out around 1997.
2. Been there done that.
3. The best joke is that the RV in question gets 4 miles to the gallon. With mileage like that, not even Hollywood is going to be able to afford the next road-trip film.
4. How fallen is the mighty Robin Williams, to plummet from the quality of "One Hour Photo" to "RV," a nearly unbearable movie.
5. What follows plays a lot like National Lampoon's Vacation, only without that film's refreshing sense of cruelty
6. Exceedingly juvenile and strained of any colorful imagination not to mention hopelessly lame, RV is a colossally clunky vehicle in every sense of the word.
7. A workmanlike family comedy with enough pratfalls and poo jokes for tykes and enough sentimentality for parents.
8. RV works up an ingratiating sweetness that partially compensates for its blunt predictability and meager laughs.
9. A family film that is only sporadically funny.
10. If Robin Williams is seeking a return to comedy glory, RV is not the vehicle that will take him there.

An unoriginal and only occasionally funny family road-trip movie, RV is a mediocre effort that not even the charisma of Robin Williams can save.


1. This charming, delicate and wholly captivating story of a ten-year-old girl who just wants to be one of the boys will get a big boost from positive responses from critics and audiences alike.
2. Two feature films into her career, writer-director Céline Sciamma has proven unusually skilled at making short, plot-light movies about budding adolescents discovering themselves.
3. A sensitive study of pre-teen sexuality and confused gender roles, from a director who knows how to draw flawless turns from young 'uns.
4. Celine Sciamma is a filmmaking force to be reckoned with in the coming years. Her story-writing ability, deft hand at directing and understanding of her young actors makes her someone to watch.
5. a melding of youthful allure, keen dramatic structure and the delicate art of directing the young
6. The awful inevitability that Laure could be found out at any moment--by her parents, by her friends--renders Tomboy an excruciating viewing experience.
7. Sciamma has wound back the clock to childhood to show us, with taste and sensitivity, something we have not seen.
8. There's an absolute naturalism to all the performances here. That's crucial, especially from Heran, who's playing a character who does not yet know herself.
9. Its young heroine is proud to be herself; there's just not much for her to do beyond that.
10. A beautiful, matter-of-fact French drama about a young girl who wants to be a boy - and for one singular summer around her 10th birthday passes as one...
Based on these individual reviews, what is the critic consensus?

In tune with the emotion and tribulations of childhood, Tomboy is a charming movie that treats its main subject with warmth and heart.


Summarize the following movie reviews:

1. It risks offense by putting a typically Adam Sandler-ian twist on a tired familial trope, though such risks can often be the only thing enlivening forced franchise installments like this one.
2. It's not a completely original film, but it's fun, quick and ingenious. [Full review in Spanish]
3. You won't hate yourself for liking this movie, but it's really nothing more than filler
4. Roughly twice as many laughs as the original. Still not enough, though the little kids will giggle.
5. Intimate observations on the modern family are not what you expect from an animated sequel meant to keep Sandler's career undead.
6. Hotel Transylvania 2 offers cute but brainless escapism for young moviegoers - as well as parents looking to distract their children for a few hours.
7. Good news is that Sandler as a writer is still exploring the fatherhood themes that we saw in the first one, bad news is it feels like we already saw this movie in 2012. [Full review in Spanish]
8. A watered down version of the original. [Full review in Spanish]
9. A few chuckles here and there...
10. It's in that lengthy middle where the film gets lost.

Hotel Transylvania 2 is marginally better than the original, which may or may not be enough of a recommendation to watch 89 minutes of corny, colorfully animated gags from Adam Sandler and company.


1. Thanks for the surgical enhancement, Tara Reid. As I always say, if saline made you a great actor then Sean Penn would have gills.
2. Actually has an entire group of adults call out to a lost comrade, 'Marco!' What does he expect the audience to do when they hear that? I mean, come on.
3. (Christian) Slater and (Tara) Reid share quite possibly the most awkward love scene ever recorded on film.
4. [A]n instant classic of cheeseball cinema, an orgy of overblown dialogue and hammy overacting, 90-some-odd minutes of cheap-looking, jaw-dropping incoherence...
5. They say that even ugly babies have faces their mothers love, but this is truly a film that not even hardcore genre fans could appreciate.
6. On the short list of Worst Movies Ever Made.
7. There's a point in the movie where it's best to stop trying to make sense out of this unintelligible story... right after the opening credits.
8. Perhaps hoping to be a sort of hybrid Matrix meets Indiana Jones meets Alien, Unfortunately, Alone in the Dark is just a bad movie.
9. Worse than you can imagine... see 1997's The Relic instead.
10. ...asking the viewer to accept Tara Reid as a scientist is pure insanity, requiring a staggering leap of faith that I can't even begin to contemplate.
What is the consensus?

Inept on almost every level, Alone in the Dark may not work as a thriller, but it's good for some head-slapping, incredulous laughter.


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

Trainwreck drags commitment out of all but the most rom-com-phobic filmgoers with sharp humor, relatable characters, and hilarious work from Amy Schumer.


Write a one sentence review of the movie "half nelson".

Half Nelson features powerful performances from Ryan Gosling and Shareeka Epps. It's a wise, unsentimental portrait of lonely people at the crossroads.


1. The Bar Mitzvah Boy gets the boot!
2. Although the subject might sound specialized, the picture is engineered with such skill that it transcends the ethnic details to become a universal story of a boy trying to find his place in an inhospitable world.
3. A dolorous comedy that leans heavily, if inoffensively, on ethnic stereotypes.
4. Itâ(TM)s designed to be crowd-pleasing and tug on hearts across the board, but thereâ(TM)s a manipulative quality that will put a ceiling on business.
5. a satisfying little surprise
6. Like Running with Scissors or an exceptionally cruel episode of The Wonder Years, Paul Weiland's whimsical and eye-poppingly bright comedy is shot through with cringe-inducing misery.
7. A sprightly English comedy about a very special Bar Mitzvah, World Cup Fever, and the frantic efforts of a 12-year old boy to get the attention he feels he deserves.
8. ...so unrelenting on the misery it piles upon poor Bernie Reubens you may just feel guilty laughing...
9. Sweet, sentimental and funny in a warm and fuzzy way, even if it's somewhat predictable and few of the actors seem very Jewish.
10. This comedy-drama is wafer-thin, but Marsan gives it some heft as an all-too-human father.
What is the consensus?

Likable but overly sentimental, Sixty Six has snatches of sharp dialogue but is ultimately too predicable.


Here are some reviews for a movie: 1. The movie takes us to the most dangerous peaks of the French Alps and to the breath-taking slopes of southeastern Alaska that are accessible only by helicopter.
2. I wish the filmmakers had gone a bit more into the psychology of what drives these men...
3. With more white powder than even Al Pacino's nose housed in 'Scarface', Steep pushes human endurance and achievement to the limit with indescribable eye-popping crazy feats of Big Mountain glory.
4. I'm not a skier. My balance is bad, and that stuff scares me. So more power to those who are - this flick's for you. And probably not anyone else.
5. In the end, Steep plays like a TV infomercial -- and who wants to hand over $11 to watch one?
6. so many shots of one person skiing down impossibly steep slopes that the film becomes mundane. The shots of snowy peaks are pretty, but they get pretty old after 92 minutes.
7. Adrenaline junkies and armchair sports enthusiasts should enjoy this informative history of extreme skiing.
8. A second-rate documentary for extreme ski fans only.
9. If you like your skiing extreme but your documentaries safe, then carve a sharp turn over to Steep.
10. Steep is a visually exhilarating sports documentary that is also more than a little exasperating.

What was the overall consensus about the movie?

Steep is a mixed bag of breathtaking mountain footage and yawn-inducing banter.


1. The Tribe builds to a revolution in your attention, forcing you to change not just how you watch the film but how you feel its characters, but director Miroslav Slaboshpitsky is sly enough to ease you in.
2. Visually, it's striking. Narratively, it's one long nightmare of confrontation and misery.
3. Based on Slaboshpytskiy's experience as a crime reporter and on stories of Ukraine's "deaf Mafia," it's less a social portrait than an experiment in shaking up the balance of our senses: A tale of no sound, just fury.
4. The lack-of-language barrier is the least of its problems.
5. For those who can take it, "The Tribe" is a movie of undeniable emotional power, unlike anything you've seen before.
6. While The Tribe does at times feel designed to be shocking, it also demands that you pay attention in a way that we're not used to paying attention in the movies.
7. If "The Tribe" were set in the hearing world, its desolation would seem reductive and forced, a pose rather than a statement. Without words, the movie becomes a nihilistic fable and, indeed, something unheard of until now. It's silent opera.
8. The Tribe isn't afraid to shed blood, but its stiff acting, disgusting depiction of sex, and inability to completely comprehend the film's message is crippling to the film's overall enjoyment.
9. It's a cinematic tightrope act, and it is to Slaboshpitsky's credit that he pulls it off.
10. A bleak, daring drama from Ukraine.

What is a brief summary of the following reviews?

A bleak, haunting drama whose wordless dialogue speaks volumes, The Tribe is a bold, innovative take on silent films for a contemporary audience.


1. For Arnold's career, at least, it's not quite the end of days.
2. An intelligent and high energy science fiction tale that is a lot of good old fashioned fun.
3. File this one somewhere in the upper echelon of Arnold films -- it won't make you forget The Terminator, but it's much more endurable than the likes of Eraser.
4. Essentially Schwarzenegger Lite, definitely a new flavor -- but it still gets the job done. For lack of a better word, it's pleasing.
5. Experience says that the weaker the story, effects or both in these contemporary sci-fi/effects/action spectaculars, the more they juice up the sound. Happily, The 6th Day stands as a modest exception to the rule.
6. The best Schwarzenegger movie in years.
7. [I enjoyed] enough of the film to recommend it just slightly, especially to Arny fans.
8. An enjoyable -- if not stellar -- entry into his action pantheon.
9. This movie knows how to entertain.
10. It is probably the most enjoyable Schwarzenegger flick since Eraser.

Write a one sentence summary of the reviews above.

This offering from Arnold Schwarzenegger contains an intriguing, disturbing premise, but the film's execution is too routine and formulaic to make good use of it.


Write an ordered list of reviews about "avp2".

1. Un spectacle insipide, ennuyant ŕ mourir et de trčs mauvais goűt
2. Well, there's not much to see here. And I mean that literally.
3. Too underlit to qualify as splatter, too bloodless to qualify as fun, too unaware of its own idiocy to be enjoyed Grindhouse-style, AvP:R is a real education in the finer stratifications of badness.
4. Well, it's official: the Road to Hell is pretty much paved over ... the Strause Brothers ... expressed their [good] intention to return to the dark, scary tone of 1979's Alien, yet Requiem is just about as bad as its 2004 predecessor.
5. i want more aliens fewer people!
6. Does Alien vs. Predator: Requiem spell the end of the dual-monster franchise? Let's hope so
7. Aliens VS Predator - Requiem is the second film in the over hyped and under performing crossover series, which brings nothing new to the table while tarnishing the franchises' original films.
8. If this is what the future holds for both franchises, then today's youngsters are welcome to it.
9. ...an utterly needless sequel that's sure to disappoint fans of both franchises...
10. In a word, repugnant.


1. [Danner is] clearly having a ball with this character.
2. Refreshingly adult, sweet-tempered and rather special little romantic comedy-drama focusing on a generally underserved age group -- and presenting that group in a new light.
3. While this gentle comedy itself isn't a deathless work of art, the role turns out to have been worth the wait for this longtime character actress.
4. Reflections on the highs and lows in rites of passage, in this bittersweet tale channeling the female experience of aging. Along with the humorous when not harrowing cross-generational bonding that can awkwardly kick in.
5. A beautiful and smart coming-of-old-age film.
6. A confident feature angel-kissed with an enviable cast (extending well beyond just Danner) and an often lovely script.
7. Humble drama works thanks to good characters and performances
8. Sweet and carefully made.
9. Offers gentle laughs and a few moments of heartfelt emotion.
10. Danner Delights in "Dreams."
Based on these individual reviews, what is the critic consensus?

I'll See You in My Dreams would be worth watching even if Blythe Danner's central performance was all it had going for it, but this thoughtful drama satisfies on multiple levels.


Summarize the following movie reviews:

1. One of the most viscerally felt films of the year.
2. With its sharp eye for telling details Maria Full of Grace often has the feel of the very best documentaries.
3. through both Marston's and Moreno's refusal to play up her pain or struggles, we care even more about how her believable tale will end.
4. [Director] Joshua Marston's meticulous eye for cold, hard facts on his subject matter raises Maria Full of Grace above the level of mere docudrama.
5. [C]oncerned with laying out what is, with a clear-eyed realism that's devastating and mesmerizing in its simple, unembellished authenticity.
6. Marston's zeal in telling the story is a flaw and also a boon
7. A stunner of a film.
8. A gripping, deeply moving film.
9. One of the emblematic migration stories of our time.
10. From start to finish, fascinating, compelling film, filled with excellent performances and sage direction.

In a striking debut, Moreno carries the movie and puts a human face on the drug trade.


Summarize the following movie reviews:

1. Woo doesn't have Yimou's natural feel for the courtly culture, or, perhaps, his sweeping way with this type of story. But his hand is sure and his eye, as ever, finds beauty in everything, even death.
2. Returning to his roots after a stint in Hollywood, Woo has made the most expensive film in mainland Chinese history, a pleasantly traditional picture that marks a new direction for one of the world's premier action maestros.
3. Not a bad consolation prize, but not the complex, multilayered drama that made Red Cliff a hit in Asia.
4. From landscape shots that have the serene beauty of a Han Dynasty watercolor, to its dramatic naval engagements and thundering cavalry charges, this is magnificent filmmaking, and a magnificent film.
5. The cuts may be appalling to those who've seen the original, but I'm not one of them, and I think this version is pretty solid.
6. It's all about the action.
7. The compelling emotion that marks the best Woo movies is AWOL. The pacing is choppy, with most of the human moments lopped off. Is the Han emperor the good guy? Or should we cheer the rebellious opposition warlords? And what the heck is a viceroy?
8. It's almost 2 1/2 hours, and too much is corny, cramped, and vague.
9. A magnificent achievement...both fascinating and fun--so good, in fact, that after watching this cut you just might to search out the director's original 280-minute version.
10. a historical epic featuring great characters, extremely clever tactical maneuvering, and scope, scope, scope...

Featuring some impressively grand battlefield action, John Woo returns to Asia and returns to form in the process for this lavish and slick historical epic.


Summarize the following movie reviews:

1. Big rave in little blurb!
2. A wholly enjoyable mixture of action, comedy, romance, and horror.
3. This is a bizarre, fun, action packed film, filled with wild characters and an adventurous, imaginative and campy spirit.
4. Works as a stand alone classic that features John Carpenter at his best.
5. A film to embody the Eighties, and justify them
6. Benefits from a rollicking wise-ass performance from Kurt Russell but otherwise falls limp courtesy of too many corny gags.
7. The high-octane action comedy takes all that was worthwhile from decades of B-flicks and distills it into a maximum-concentration explosion of cinematic TNT.
8. A 'B'-movie-style Western meets Eastern, a supernatural 'chopsocky' fantasy with leading man Kurt Russell doing a feature-length impression of a dead movie star. Put that in your pipe and smoke it. [Blu-ray]
9. Russell and Carpenter make a great team.
10. Imperfect, yes...but still great cultish fun with Kurt Russell.

Brimming with energy and packed with humor, Big Trouble in Little China distills kung fu B-movies as affectionately as it subverts them.


Write a one sentence review of the movie "lilja 4 ever".

A tragic, hard-hitting story about a teenager trapped in a life of prostitution.


Here are some reviews for a movie: 1. That I'm aghast must be a form of overload, and as baffled as I am by this dark underbelly of a film, I did enjoy it.
2. ...flirts with sadism, but it's much more than a sick stunt.
3. Dogtooth is one of the funniest films of the past 12 months, an unforgettable social-satire, a devious little test of endurance for brave movie-lovers and the best argument against home-schooling since The Jonas Brothers.
4. A kind of ingenious horror show you just can't take your eyes off of.
5. A miserable, consistently worthless piece of work...
6. Cinephiles (have) reacted to Lanthimos' skewed vision in much the same way as the confined children at the heart of the story: through the inquisitive, excited eye of someone catching a glimpse of a new worldview for the first time.
7. It's a triumph of a filmmaker having everything his own way -- for better or for worse.
8. To put it mildly, "Dogtooth" is not for everyone, but it can grow on you even if you think you've rejected its influence.
9. This is the second feature for Lanthimos, and it's a leap from his well-received debut Kinetta. He skilfully doles out tantalizing pieces of information, keeping the viewer in a constant state of suspense and wonder.
10. The true dark-horse nominee among this year's foreign-language Oscar contenders, Dogtooth leaves bite marks that stick around long after you are released from its grip.

What was the overall consensus about the movie?

It'll be too disturbing -- and meandering -- for some, but Dogtooth is as disturbing and startlingly original as modern filmmaking gets.


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

Though perhaps no film could fully do justice to the fascinating life and personality of Muhammad Ali, Mann's direction and Smith's performance combine to pack a solid punch.