1. Charlie Hunnam turns in an utterly dreadful, line-mangling, squirm-inducing performance (reputedly redubbed, but still atrocious), whilst the voice-over narration is staggeringly appalling.
2. The script is a jumble of caricatures and cliches.
3. Approaches the sociologically poetic sloganeering of the Smiths at Morrissey's most hooligan-lovestruck.
4. [Alexander] is a better anthropologist than dramatist and her snapshot of this culture is more revealing than the story crafted around it.
5. It swims and sinks in melodrama.
6. German kickboxer-turned-director Lexi Alexander's brutal, unsparing portrait of disaffected youth running rampant amid the football stands and terraces of jolly old England.
7. There's a good movie to be made about the violent world of British soccer, or football, as it's called on the other side of the pond. This isn't it.
8. Green Street Hooligans loses any credibility it might have had the minute it tries to pass off Elijah Wood as a tough guy.
9. Hunnam e Wood exibem imensa segurança ao carregarem o filme, que também desperta nosso interesse através da análise dos motivos que levam pessoas comuns ŕ violęncia das torcidas organizadas.
10. At least three writers collaborated on a script that drums out loudly its themes of loyalty, honor and revenge, and the finished product dances quickly enough between cliches to make for passable entertainment.
What is the consensus?

When it comes to the subculture of soccer thugs, Green Street Hooligans lacks sufficient insight, and instead comes off as a Fight Club knock-off.


Here are some reviews for a movie: 1. It's not the groundbreaking movie it needed to be to infuse the series with renewed life.
2. The dialogue is inane, the plot insipid, and with the exception of some nifty special effects at the very beginning, this has nothing whatsoever to recommend it.
3. It simply doesn't have the sharp inventiveness and insight we usually associate with the franchise.
4. 35 years of saving the universe takes its toll on the imagination, and this film, unfortunately, is stuck paying the check.
5. Sure, it's more of the same, but as the film proves, that's not always a bad thing.
6. definitely something different, even if it doesn't quite live up to the filmmakers' obviously grandiose ideas
7. A cheapo space battle that has all the cool allure of a disco-dancing Dad.
8. 'How many more voyages can this limping but dearly-loved franchise survive?'
9. As lo-fi as the special effects are, the folks who cobbled Nemesis together indulge the force of humanity over hardware in a way that George Lucas has long forgotten.
10. This tenth feature is a big deal, indeed -- at least the third-best, and maybe even a notch above the previous runner-up, Nicholas Meyer's Star Trek VI: The Undiscovered Country.

What was the overall consensus about the movie?

Nemesis has an interesting premise and some good action scenes, but the whole affair feels a bit tired.


1. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.
2. Life sucks, people are awful, we're all going to die, and good riddance. Who says Lars von Trier doesn't like happy endings?
3. For you von Trier haters, this might wind up being the movie that finally draws you over to the dark side.
4. Pain isn't the path to sainthood but, often, only more misery. There's nothing beautiful about it at all. Except, perhaps, to von Trier, who continues to find it inspiring -- particularly when it's being visited upon pale, pretty, naked young women.
5. No one else since Ingmar Bergman and Chantal Akerman has so consistently and illustriously particularized the disintegration of females stuck in an interminable, patriarchal dystopia.
6. Heavy, though without weight or gravitas - a solipsistic, narcissistic, inhuman affair.
7. One of the best films of 2011, a stunningly original examination of that which is completely out of our control.
8. 'Melancholia' another Lars von Drear slog.
9. To my mind, Melancholia is both absorbing and absurd. It opens with a visual prologue that turns out to be a précis of the film that is to follow.
10. There's something about the solemn, gloomy, often overwhelmingly powerful experience of watching Melancholia. I'll give it this much: This is a hard movie to forget.
Based on these individual reviews, what is the critic consensus?

Melancholia's dramatic tricks are more obvious than they should be, but this is otherwise a showcase for Kirsten Dunst's acting and for Lars von Trier's profound, visceral vision of depression and destruction.


1. One of the smartest and honestly exciting movies of the year!
2. A cut above the standard revenge-based picture.
3. Work with this one, it's worth the effort.
4. Sleek, stylish.
5. Much of the entertainment comes from the film's autumnal mood, and watching Fonda and Stamp work their characters.
6. Intoxicatingly well-crafted!
7. Stamp's all over this one, a rather routine thriller at the best of times.
8. The Limey is for people who don't mind a little art with their movie and don't need all their questions answered along the way.
9. The Limey is no treasure. At best this one would have to be called Nineties Noir, or Noir Lite.
10. All of its style can't altogether conceal that director Steven Soderbergh doesn't have as much to work with here.

Write a one sentence summary of the reviews above.

Crafted with eccentric moodiness and style by Steven Soderbergh, The Limey is also a gritty neo-noir showcase for the talent of leading man Terence Stamp.


Here are some reviews for a movie: 1. July's film-making is a taste I have yet fully to acquire, but she has a distinctive vision, a style, placed before you on a take-it-or-leave-it basis. I took it.
2. July, who gave us the lovably odd Me and You and Everyone We Know, has layered on so much self-conscious whimsy - monologues from the cat, dialogues with the moon and other dashes of magical realism - that the central drama struggles to be heard.
3. This strange film reminds me of some stories by Franz Kafka, such as 'The Trial.' It is a story which makes no sense when viewed objectively, but hangs together well enough as a subjective experience.
4. Nobody but July could have made a film so defiantly insufferable.
5. Parece apenas interessado em lançar o meme dos "Lolcatz" como gęnero cinematográfico.
6. Miranda July takes the twee and cute thing WAY too far this time
7. Many viewers, especially her detractors, can't see the forest for the twee in July's films. That's certainly true of "The Future" - but burrow down past the creepy-cutesy touches, and you find a film that's painfully real.
8. You end up feeling sorry for the cat but not for Sophie and Jason, who seem unable to deal with life, love or, in fact, anything.
9. July's new film isn't as witty or touching as her debut but she still manages in her off-kilter way to say something original about her characters' hopes and fears and illusions... but viewers with an aversion for whimsy should probably steer well clear.
10. It's parodic Sundance independent cinema - pure, aimless, triple-brewed whimsy.

What was the overall consensus about the movie?

A dark and whimsical exploration of human existence that challenges viewers as much as it rewards them.


1. No matter what your age you're going to love this one.
2. The film's main concern is the characters, and they're a genuinely tarnished, genuinely appealing bunch.
3. A brilliant portrait of post-adolescent angst that looks and feels like the great film that John Hughes never quite got around to making
4. Adventureland is the perfect coming-of-age story with great performances and a beautifully written script.
5. A joy ride filled with trials and tribulations of angst teens just trying to deal with life.
6. The only real nostaglia on display (much like the overplayed rock soundtrack of the park's speakers) is the feeling that you've just seen and heard this story all before.
7. Adventureland is a surprisingly sweet and irreverent tale of summer jobs and summer love. It reminds you how the hearts of teens and young 20-somethings flutter up and down just like the rusty deathtrap roller coasters they're looking after.
8. the plot's romantic rhythms ... leading to the inevitable reconciliation are right out of the Hughes playbook
9. Characters like James and Stewart's Em feel out of place for their own reasons, and consequently provide just enough perspective for us to remember the absurdity of the culture around them, but never with disdain.
10. Is being smart hip again?

What is a brief summary of the following reviews?

Full of humor and nostalgia, Adventureland is a sweet, insightful coming-of-age comedy that will resonate with teens and adults alike.


1. Disney's most effortlessly charming and satisfying [hand-drawn] creation since 1999's Tarzan.
2. When it's playing the laugh cards, it's positively hilarious. But--when it tries to play any other card in the deck, it comes up unfortunately short.
3. ... nobody is really a villain, nobody has to die, and everything works out in spite of all the chaos... the only thing "Lilo & Stitch" leaves you wanting is more.
4. This movie is by no means a classic in absolute artistic terms, but as a reaffirmation of all but forgotten verities it's an unqualified success.
5. A return to pure Disney magic and is enjoyable family fare.
6. What's a bit disappointing is the hand-drawn animation, resembling the old Looney Tunes cartoons.
7. Manages to please both adults and children on their own terms without compromising the underlying integrity of the story.
8. When one sees Stitch, a blue blob sporting pointy teeth, an oversized head and six appendages, comparisons to past Disney works go out the window. After years of predictability, "Lilo and Stitch" is a crazy ride all its own.
9. Certainly the hippest of Disney's animation, "Lilo & Stitch" has more in common with "Edward Scissorhands" than "Snow White."
10. At the end of the movie, my 6-year-old nephew said, "I guess I come from a broken family, and my uncles are all aliens, too." Congrats Disney on a job well done, I enjoyed it just as much!

Write a one sentence summary of the reviews above.

Edgier than traditional Disney fare, Lilo and Stitch explores issues of family while providing a fun and charming story.


1. Their charm is undeniable, though it mainly resides in the source material: the late 60s, when these were made, were Disney's darkest days for craft and commitment.
2. Quaint and fairly lovable kiddie adventures.
3. What a peculiar genius was A.A. Milne Milne's distinctive voice retains its quality in with a clarity and integrity exceeding that of any other author Disney adapted.
4. ...it's always nice, anytime, to renew one's acquaintance with A.A. Milne's delightful characters.
5. The product of marketing genius, but at its core, this movie is entirely true to A.A. Milne's wonderful storybook intentions.
6. While Blustery Day won an Oscar, all three cartoons deserved it.
7. One of the most charming of all Disney features... like anyone else, when I see it I am swiftly and inexorably carried back to childhood, in accordance with the drippy clichés.
8. [Blu-ray Review] Lush and lovely to look at with a number of solid extras, "The Many Adventures of Winnie the Pooh" on Blu-ray is easily recommended for both the young and the young at heart.
What is the consensus?

Perhaps the most faithful of Disney's literary adaptations, this cute, charming collection of episodes captures the spirit of A.A. Milne's classic stories.


1. One of the best send-ups of the inside back-stabbing and infighting that goes on in Hollywood ever put to film.
2. Boffo look at the backstabbing backstage world of Broadway
3. With a towering, self-mocking performance by Ms. Davis...the satire remains as entertaining today, and as relevant, as ever before.
4. A motion picture that, because of its priceless dialogue and unforgettable lead performance, will never lose its luster.
5. Bette Davis is fabulous in this role.
6. Screenwriting students, you have your Bible. Movie lovers, you have a film that is impervious to the rigors of time, not to mention an inspiration for every prime-time soap opera.
7. A classic movie, whose qualities remind us that there once was a Hollywood where such sophisticated treats could be made.
8. All About Eve is deliciously fun to watch with characters playing versions of themselves (most noticeably Bette Davis) and being quite introspective for its day.
9. As if Bette Davis wasn't enough, the supporting cast is also fantastically emotive.
10. Joseph Mankiewicz was Hollywood's midcentury master of comic drama, and All About Eve, from 1950, was one of his signal achievements.
What is the consensus?

Smart, sophisticated, and devastatingly funny, All About Eve is a Hollywood classic that only improves with age.


1. A glorious revelation of a film that could very well be considered Roland Emmerich's Moulin Rouge!
2. Shakespeare himself would probably love it. He did write Twelfth Night, for goodness sake.
3. Historians are already calling Anonymous preposterous humbug, but I found it a complex cornucopia of ideas and panache. You go away sated.
4. Other than ludicrously pulpy fun, Anonymous, true to its title, ultimately signifies nothing.
5. Few could ever have predicted that Emmerich would be the man to bring the Oxfordian theory of Shakespeare authorship to the screen
6. Anonymous winds through a thick registry of lords and earls taking sides in various revolts and coups, and a playbill of Shakespeare's jealous theater peers. It's tough to keep track of who is getting beheaded or dragged to the Tower of London.
7. A disappointing, over-stuffed and frequently dull drama with dreadful dialogue, dodgy performances, an uneven tone and a poorly structured script.
8. By and large it's a comedy of errors, but not as Shakespeare intended it.
9. Think of it as a high-end Christmas panto, as a red-faced, enthusiastic cast are put through the paces by their barking, domineering director. Louder, faster, bigger, more!
10. This period drama turns an academic dispute into absurd entertainment.

What is a brief summary of the following reviews?

Roland Emmerich delivers his trademark visual and emotional bombast, but the more Anonymous stops and tries to convince the audience of its half-baked theory, the less convincing it becomes.


1. Kevin Spacey beams down another winner...
2. Casting [Spacey and Bridges] against each other gives their scenes together a believability and intensity that comes directly out of their contrasting acting styles.
3. A nonsensical therapeutic melodrma about the shifting relationship between a mentally disturbed patient (badly acted by Spacey), who claims to be from another planet, and his problematic shrink (the reliable Jeff Bridges) who goes through menopause.
4. This being a Hollywood movie, the realistic is soon left out on the curb as quickly as a Christmas tree on December 26, and as mournful-looking.
5. Pretty dull and very slow-paced...
6. Terrific acting by Kevin Spacey and Jeff Bridges.
7. Bridges completely steals the show from the more lauded Spacey, who's simply on autopilot throughout.
8. Se Proft năo pode levar o corpo consigo, por que desapareceu por tręs dias do hospício? E como sabe tanto? E por que utilizou o corpo de Robert? E para quę a subtrama envolvendo a família do médico? E por que estou perdendo tempo com esse filme?
9. ...a refreshingly uplifting story about the best of humanity.
10. It tries to frighten us into doing the right thing by declaring that there is no grace, no forgiveness, and no escape from our lives once we are done living.
Based on these individual reviews, what is the critic consensus?

For those who have seen One Flew Over the Cuckoo's Nest or Starman, K-Pax may not hold anything new. The movie works best as a showcase for Kevin Spacey and Jeff Bridges.


Here are some reviews for a movie: 1. This is a film of consequence, and it's good to be reminded of how much better life is for most people in eastern Europe than it was a quarter of a century ago.
2. Most compelling in Barbara, Christian Petzold's latest, is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
3. It's one terrific film, as smart, thoughtful and emotionally involving as just about anything that's out there.
4. An enthralling little gem.
5. A superbly crafted low-boil drama that gets its hooks into you the old-fashioned way, through character, and highlights the difficulties and cost of living by principles.
6. [R]esides somewhere in an unsatisfying borderland between drama and thriller, never quite catching fire as either...
7. That sense of nervous dislocation that the viewer feels in the first few scenes - Where am I? Who is this person? Is she friend or foe? - efficently evokes the muted terror that its characters feel.
8. This well acted political melodrama, set during the Cold War, is Germany's entry for the Best Foreign Language Oscar.
9. A meticulously crafted drama in which the depiction of character, place and circumstance evolves slowly and with intrigue, Barbara is gripping cinema
10. A crafty filmmaker, Petzold gives us information in increments. During the first half of his movie, which he co-wrote, we are all but left to our own devices; yet it is fascinating, and appropriate.

What was the overall consensus about the movie?

Smart, solidly grafted, and thoroughly gripping, Barbara offers a deliberately paced, subtly powerful character study.


Which movie is the following review about?

The movie's ponderousness is relieved only by Samantha Morton's uncanny portrayal of the psychic Agatha and by Lois Smith's turn as Dr. Hineman...


Here are some reviews for a movie: 1. Those going in knowing what to expect will likely welcome this send-off
2. ...at this rate, what can we look forward to? Cobra: Back in the Hood? Son of Judge Dredd?
3. It would probably feel more at home on a cruddy VHS tape with bad tracking problems...
4. Well, John Rambo's at it again, and here's Sylvester Stallone again. But "Rambo" isn't nearly as rewarding as Stallone's recent "Rocky" romp.
5. An old man and his knife, sweet
6. It's unsubtle filmmaking, laying out every nuance for us and playing around with some pretty serious ideas without digging very deep.
7. A neat little farewell to a very silly action hero.
8. There is next to no dialogue in the film's final 30 minutes %u2013 just a torrent of killing, blood and violence. The film's target market of young testosterone-charged males will no doubt be eager to immerse themselves in this blood-fest of stunts and sp
9. Stallone is in desperate need of reinvention, but he seems myopically focused on rehashing the past rather than exploring the future.
10. This film is like a bull in a China shop -- it just keeps charging forward, destroying everything in its path.

What was the overall consensus about the movie?

Sylvester Stallone knows how to stage action sequences, but the movie's uneven pacing and excessive violence (even for the franchise) is more nauseating than entertaining.


The critic consesnsus is: Critics say that the third Pokemon movie has a better plot than its two predecessors. This is not enough, however, to recommend it to those not already fans of the franchise.. What reviews supported this critic consensus?

1. If not exactly enjoyable, then at least halfway tolerable.
2. For adults, there's little to recommend here.
3. The animation and script still look as crummy as ever.
4. Lighter than its predecessors.
5. Much to my own surprise, the newest installment of the Pokémon cartoon franchise gets my begrudging respect.
6. Creepy, yes, and confusing as heck, but not half so fearsome as the three little words ('Until next time!') spoken by whom I don't recall.
7. Too little, too late for the phenomenon to gain a second wind, or for it to make converts out of any Pokémon haters.
8. Certainly parents' wallets are the lighter for it.
9. This one has its moments.
10. Surprisingly inert and rather boring, at least for anyone who doesn't collect the related cards.


Write an ordered list of reviews about "legend of zorro".

1. I would have dumped the cute kid and the priest and brought back sexy Zorro and his gorgeous volatile wife. Instead, Banderas and Zeta-Jones morph into Republican parents.
2. Harken to the hacienda and hoist the tequila! It's a bold, fun-filled, swashbuckling action adventure for the whole family.
3. It is good fun, but not great fun, and it's much longer than it ought to be.
4. It tries just hard enough to get by when it should be working more ambitiously to earn that mark of the Z.
5. In what should've been Antonio Banderas's finest hour as the Mexican superhero, he is instead swallowed up by a second film that doesn't know what to do with him.
6. The Legend of Zorro kicks off with a ridiculously over-the-top action sequence that feels as though it'd be more at home in The Three Amigos...
7. Banderas and Zeta-Jones are strong. The writer's and director's grasp of American History is weak. Yet, I found myself yelling, "long live The Legend of Zorro!"
8. Arrives with its fair share of violence and probably more individual deaths by explosion than listed on Wile E. Coyote's HMO chart.
9. ...two terrific bad guys. Banderas and Zeta-Jones are sexy and funny. Even with too many ridiculous fights, this is a lot of fun.
10. The filmmakers proudly wear their disdain for film critics on thier collective sleeve, and the result...is fun.


The critic consesnsus is: Vantage Point has an interesting premise that is completely undermined by fractured storytelling and wooden performances.. What reviews supported this critic consensus?

1. It swears it's being clever yet refuses to trust the audience.
2. Asks us to believe the terrorists would, after slaughtering countless people, risk their entire plan--and their very lives--on...well, I won't say. But from my vantage point, it was ridiculous.
3. If you are looking for mindless action, it's not bad. But since this is trying to be something more than that, I can't quite recommend it.
4. The whodunit-with-terrorist-undertones doesn't test, shock or surprise the audience in any unique way.
5. For movies like Vantage Point, life is too short.
6. Although based around a familiar, Rashomon-style concept, Vantage Point ratchets up its intensity so effectively that the lack of originality hardly matters.
7. Is it too much to ask for procedural thrillers like Vantage Point to connect all their dots before the closing credits?
8. Vantage Point is a patented representative of this year's early mediocrity. Vantage Point is trailer trash.
9. The more they replay the story, the more you realize that there really wasn't all that much to see in the first place.
10. [Vantage Point is] a puzzle cut by a drunken, three-fingered jigsaw operator who lost a few pieces and chewed on a few others.


1. Both a soulful mood piece and beautiful exploration of cross-cultural communion.
2. The Israeli film that's become celebrated for what it lacks -- enough Hebrew to contend for the best foreign language Oscar -- can now be seen and appreciated for what it has in abundance: visual wit, verbal charm and a completely droll sense of humor.
3. The Band's Visit, the first feature by the Israeli writer and director Eran Kolirin, flirts recklessly with obviousness, cuteness too.
4. Kolirin doesn't go for belly laughs. He prefers subtle, wry humor, much in the fashion of Finland's Aki Kaurismaki.
5. A remote, Israeli desert town is the setting for this droll, endearing comedy about an accidental cultural exchange that very quietly says some very important things about contemporary Arab-Israeli relations.
6. With its attention to detail and careful, naturalistic performances, it's a small slice of life.
7. A deeply spiritual comedy about the bridge-making capacities of hospitality and the way music serves as universal language that draws people together.
8. Writer-director Eran Kolirin has a gentle touch, although the film is too self-consciously sentimental.
9. Fresh, funny and engaging, it's a shame that a technicality disqualified it from Oscar contention.
10. Eran Kolirin's uncommonly assured directorial debut hinges on its characters, and in Ronit Elkabetz as Dina, and Sasson Gabai as Tewfiq, he strikes cinematic gold.

What is a brief summary of the following reviews?

The Band's Visit is both a clever, subtle slice-of-life comedy, and poignant cross-cultural exploration.


Write an ordered list of reviews about "saving face".

1. A frothy delight, robust with strong and conflicted characters.
2. Saving Face is nonetheless a heartfelt and witty film that favorably compares to Ang Lee's The Wedding Banquet, even if Wu lacks Lee's subtlety and wraps everything up a little too neatly.
3. Less burdened by earnest intentions than other indie examinations of Asian-American women's experience, the film's appealing characters and amusing situations prevail over its general shortage of energy.
4. From generic comedy roots comes something likably cute.
5. ...a conventional but ambitious and tender vehicle about cultural traditions of passion crossing forbidden paths.
6. This film breaks the icy barriers of traditional repression, cold communication. Offers up a series of sometimes charming scenes, but seldom breaks deeper into the surface.
7. Saving Face's saving graces are its sense of humor and its strong cast.
8. The people in Saving Face make plenty of mistakes, but Wu's script views their mistakes with compassion.
9. A first film with a deft comedic touch and a trio of charming stars.
10. This culture-clash, generation-gap comic drama is clichéd and corny. But it's also charming.


1. This smart and stylish Lubitsch comedy was recently remade as You've Got Mail.
2. Esta charmosa comйdia romвntica traz um James Stewart mais irфnico do que costume, mas igualmente nobre - e sua interaзгo com Margaret Sullavan cria уtimos momentos de бcido romantismo.
3. This 1940 film is one of Ernst Lubitsch's finest and most enduring works, a romantic comedy of dazzling range.
4. One of the all-time great romantic films stars Jimmy Stewart and Margaret Sullavan as two slightly antagonistic clerks working in the same store who do not realize they have been corresponding with one another and are in love.
5. This charming and well-scripted comedy exploits the ingenious set-up with delightful results.
6. Although picture carries the indelible stamp of Ernst Lubitsch at his best in generating humor and human interest from what might appear to be unimportant situations, it carries further to impress via the outstanding characterizations by Margaret Sullavan
7. Who but Lubitsch could have pulled off such a winning romantic comedy that dares to include, but is not marred by, such tragic undercurrents adultery, attempted suicide?
8. ...a pretty kettle of bubbling brew it makes under Mr. Lubitsch's deft and tender management and with a genial company to play it gently, well this side of farce and well that side of utter seriousness.
9. This might be Lubitsch's gentlest work: sweetness mixed with a genuine sadness.
10. Thoroughly different from To Be or Not To Be but just as exhilarating, it's one of the few films truly justifying Lubitsch's reputation for a 'touch.'

Write a one sentence summary of the reviews above.

Deftly directed by Ernst Lubitsch from a smart, funny script by Samson Raphaelson, The Shop Around the Corner is a romantic comedy in the finest sense of the term.


1. Its aims are too simplistic about life and happiness.
2. Among the greatest films of all time.
3. Brilliant Nicholson turn...and Fletcher's nurse is one of film's best villains.
4. excellent in every way
5. A rousing, rock-the-boat feel pulses throughout the film, overpowering its weaknesses.
6. Without hesitation my No. 1 favorite of all time. At once a comedy and a tragedy, hilarious and heartbreaking, few films have ever achieved such a level of excellence.
7. A stirring indictment of how we determine who's sane and who's crazy.
8. Set in an insane asylum, the film involves the oppression of the individual, a struggle spearheaded by an ebullient Nicholson, turning in a star performance if ever there was one.
9. If the film is meant to be a serious criticism of mental homes it should be more obviously serious than it is. There are other subjects where comedy cannot say more than straight drama, and this is one of them.
10. Nicholson's best work
What is the consensus?

The onscreen battle between Jack Nicholson and Louise Fletcher serves as a personal microcosm of the culture wars of the 1970s -- and testament to the director's vision that the film retains its power more than three decades later.


Write an ordered list of reviews about "10009929-a christmas tale".

1. A strangely encompassing collection of private moments among the members of a large family with a fraught history.
2. Call me nuts, but even with all the dysfunction and suffering, I found lots to cherish about this artistically personal holiday film.
3. There are simply too many marvels to tally.
4. The most emotionally rich and cinematically thrilling film I've seen all year, a film that pulses with human life in all its terrible and beautiful irrationality.
5. It leaves no lasting impression, except for one excruciating scene involving a bone marrow transplant.
6. Characters occasionally address the camera, which helps disentangle the competing story lines of madness, adultery, and betrayal.
7. A Christmas Tale is beautifully acted by all. The bigger dramatic moments in the film are believable, but the occasional fights and arguments cannot hold a candle to the quieter moments of truth permeating out of the scenes.
8. A good film with great performances that's only held back a bit by its extreme length and the pacing and pretentiousness that goes with it.
9. To tweak Tolstoy: All happy families may be alike, but all unhappy-family movies are entertaining in their own ways.
10. Even though it's pretentious and overlong, A Christmas Tale is still maddeningly engaging, thanks in large part to its attractive and gifted cast.


Write an ordered list of reviews about "a dangerous method".

1. Here is a director talking about a subject he's covered many times before in a totally new way.
2. The film radiates intelligence through clever direction and strong performances.
3. David Cronenberg's focus remains, as always, on issues of mind/body invasion, corruption, and rebirth.
4. [VIDEO] a lush character study and history lesson that tenaciously explores the personal conflicts of ego and id between Jung and Freud.
5. To say A Dangerous Method is a David Cronenberg misfire is an understatement but not the end of the world. I applaud him for trying something new even if the end result is dead on arrival.
6. It unfolds as a loquacious essay on the origins of psychoanalysis -- enlivened by some wry repartee from Viggo Mortensen, who steals every scene as Sigmund Freud, and gets more mileage out of a cigar than anyone since Groucho Marx.
7. Gets away from what we've come to expect from the filmmaker who started out by making some of the most disturbing genre films.
8. A Dangerous Method feels drained of meaning and artistic intent.
9. If it has a tendency to explicitly state its own themes, the film nevertheless unsettles with its lucid visions of release and repression
10. On some level, A Dangerous Method is Cronenberg's first out-and-out comedy...


Which movie is the following review about?

The fight choreography in "Hannah Montana" is infinitely better.


Here are some reviews for a movie: 1. Further proof that the folks at Pixar are ceaselessly, unflaggingly more clever and imaginative than anyone else working in big-budget feature animation.
2. The amazing thing about Pixar is that in every film, I go in with incredibly high, unrealistic expectations, & they always excel beyond them.
3. Simply the most entertaining movie you'll see all year.
4. This movie reaffirmed my love for the cinema.
5. It's the brilliant animation and witty script that lift this film from retread material to sublime entertainment for kids and - equally - their parents.
6. You know exactly how this one ends; yet getting there is such an enjoyable delight.
7. Beats any Disney animated film through 1960 and probably a good deal later.
8. [Once again Pixar] ensures that the label 'family film' isn't 'a movie only your tots will enjoy' but something that actually is for everyone.
9. "Finding Nemo" was funny and a little scary, at least for the little tykes.
10. Pixar's masterpiece. It feels dizzy with color and drunk on its own otherworldly creation. Sure, it derives most of its splendor from what actually exists on our ocean floors, but that doesn't make it any less wondrous.

What was the overall consensus about the movie?

Breathtakingly lovely and grounded by the stellar efforts of a well-chosen cast, Finding Nemo adds another beautifully crafted gem to Pixar's crown.


1. Wildly uneven and about as entertaining, "The Fighter" is committed to the rambunctious masculine energy of the boxing ring.
2. Less a boxing drama than a drama with some boxing in it, The Fighter turns Bale loose in a supporting role that dominates director David O. Russell's film.
3. Give Christian Bale and Melissa Leo the Oscar right now! The Fighter contains the best boxing matches since Raging Bull.
4. A cheesy "Raging Bull"-"Rocky" mashup served on a hot buttered bulkie roll, David O. Russell's "The Fighter" is Scorsese-lite with Mark Wahlberg's boxer Micky Ward flanked by two performances that are as much about overacting as acting.
5. The Fighter" is one of the best movies of the year. It is a feature that follows the tenet that the best sports movies are more about people than the athletic contest.
6. By far the most rousing, expertly cast movie this year...
7. Has a cracking pace, lively characters bloated with Boston bile, and a sense of neighborhood imprisonment, shaping an encrusted reality to balance out the Cinderella story.
8. Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."
9. Russell has taken a tale of mythic American redemption and one of those Hollywood screenplays with four credited writers and somehow made a movie so rousing, so real and so full of complicated emotions that it all feels brand-new.
10. Mark Wahlberg's portrayal of former boxer Mickey Ward packs a riveting and powerful punch but it's the performances by the rest of the cast, including scene stealer Christian Bale that makes the film a winner.
Based on these individual reviews, what is the critic consensus?

Led by a trio of captivating performances from Mark Wahlberg, Christian Bale, and Amy Adams, The Fighter is a solidly entertaining, albeit predictable, entry in the boxing drama genre.


1. Almodovar beautifully evokes trust and sacrifice.
2. Almodovar continues to refine the form of melodrama ... without sacrificing one iota of emotional texture or resonance.
3. Humanity is intricate, contradictory, fathomless here, and the filmmaking just as rich.
4. no other current director blends comedy and drama as smoothly or with as much flair
5. It's Almodovar's most mature and mysterious movie.
6. Almodovar uses the characters' unlikely predicaments to show how we define ourselves by narration, but his story is so overdetermined that ultimately the two men seem as constrained as their brain-dead sweethearts.
7. I found it slow to get into. But I hung in there and am glad I did because eventually it grabbed me and I ended up enjoying it.
8. The film combines sensuality, spirituality and sheer joy in storytelling in marvellously harmonious proportions.
9. It's a brave movie and a mature undertaking.
10. Very few directors could get away with making a film like this, but Almodovar not only gets away with it, he delivers a masterpiece.
Based on these individual reviews, what is the critic consensus?

Another masterful, compassionate work from Pedro Almodovar.


1. The film never becomes charming enough to elicit more than an occasional smile.
2. With Waddington's help, all of the people involved give us a gently insinuating folk tale.
3. Well-acted but underwhelming.
4. Its plot loses momentum about halfway through and gets stuck in its own precious rut.
5. For the culturally uninitiated (us), it's a judgmental struggle regarding this Brazilian Lolita and her unorthodox cabaret.
6. Thanks to a superb cast headed by the popular Brazilian actress Regina Casé, this unorthodox tale is ultimately believable.
7. Works because the story is sympathetic to the feelings of the characters, observes them as individuals.
8. Manages to find the magic through its documentary style, and manages to find the erotic in the commonplace.
9. An adroit, beautifully acted, sophisticated film.
10. Satisfying from start to finish.

Write a one sentence summary of the reviews above.

Me You Them tells a warmly comical and touching story, and features a charismatically earthy performance by Casж.


The critic consesnsus is: Typically stunning visuals and sharp dialogue from the Coen Brothers, brought to life with strong performances from Goodman and Bridges.. What reviews supported this critic consensus?

1. Bad news for those in search of accessible comedy; good news, as always, for those who work at finding oddball flourishes and well-disguised social commentary.
2. Since The Big Lebowski doesn't have an idea in its head, it has to fill the empty space with 'witty' conceits
3. It sounds like another precious Coen brothers gimmick, but in Bridges' hands it becomes a hysterical running joke.
4. In a perfect world all movies would be made by the Coen brothers.
5. Outstanding acting, writing, direction and photography all combine to make this a great comic success.
6. Some viewers have criticized the movie for being too much of a shaggy dog story, lacking a cohesive point or purpose. Yet to look for the point is to miss it entirely. Coen-heads hop aboard for the ride.
7. Nearly everything in The Big Lebowski is a put-on, and all that leaves you with is the Coens' bizarrely over-deliberate, almost Teutonic form of rib nudging.
8. The comedy here is sometimes so sharp that you could roll in the aisle with laughter and not seem any odder than the characters you see onscreen.
9. The Dude and Sobchak begin as caricatures too, but they're allowed to grow into something deeper, if only because the humanist economy of the Coens' surrealist vaudeville allows for a couple of human beings within the tapestry of freaks.
10. Much of 'Lebowski' is amusing, some of it is downright hilarious and all of it is stylish, with plenty of the Coens' usual inventive shot composition and tricky camerawork.


Which movie is the following review about?

Every character is a cliché, everything about the story is predictably smug.


1. A dark piece of neorealism - and a searing indictment of Eastern Europe's newly moneyed classes ...
2. A Romanian political allegory - in Romanian - might sound like tough sledding, but thanks to a searing performance by Luminita Gheorghiu, "Child's Pose" is anything but.
3. Not a single character bends for our sympathies or campaigns for our support, and for that reason, Child's Pose marks an extremely brave work of remarkable realism.
4. For those not driven off by a Mad Libs collection of "emotional tension," "gloomy plot," "grieving parents" and "modern Romania," "Child's Pose" is thrilling.
5. With its claustrophobic, handheld camerawork, Child's Pose is almost as suffocating as Cornelia (Luminita Gheorghiu), the well meaning but ultimately meddlesome mother ... a showstopping performance by Gheorghiu
6. A punchy thriller and sweetly bleak tragicomedy. The last shot is as perfectly shaped and beautiful as a freshly forged chisel. Bare your heart.
7. What is so fine about this film is that Cornelia is depicted with subtlety, much of that due to the fine performance of Luminita Gheorghui.
8. A thriller, but, like the films of Asghar Farhadi, offers a depth of emotional engagement far beyond your average ... indeed, far beyond your average "straight drama". Its thrills are thrilling, but its drama is intense, moving, and extremely rewarding.
9. It's well worth seeing, both for its merciless anatomization of the country's post-Ceausescu social order and for Gheorghiu's stupendous central performance as a mother so monstrous she makes Medea look like a pushover.
10. If Child's Pose fails to live up to its indie-intellectual veneer, it earns its keep through Gheorgiu, whose Cornelia is a triumph of subtle performance over crude conception.

What is a brief summary of the following reviews?

It isn't necessarily an easy watch, but thanks to Netzer's interesting direction and a riveting performance from Gheorghiu, Child's Pose is rewarding.


The critic consesnsus is: In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances.. What reviews supported this critic consensus?

1. Just like the mission itself, APOLLO 13 leaves the impression of being both a success and a failure.
2. Howard does a marvelous job of making the cerebral exploits of these pencil-chewing, chain-smoking guys the stuff of real adventure.
3. Apollo 13 gets my blanket recommendation.
4. The movie will happily repay multiple viewings.
5. The depiction of the rocket launch remains one of the most exhilarating sequences ever captured on film; so realistic that NASA wondered where the filmmakers got the footage.
6. For reliving this long forgotten go-and-get-it gung-ho mentality and excellent reconstruction of the sense of wonder that surrounded those early space missions Apollo 13 is worth seeing.
7. Self-conscious about its heroism with portrayals that lean toward the glib and the professionally uplifting, the film milks our sympathies too readily to be emotionally convincing.
8. Apollo 13, Ron Howard's soaring salute to space exploration, lifts off with a payload of the right stuff-courage, can-do, grace under pressure and other qualities derided as machismo by some and applauded as old-fashioned values by others.
9. This meticulous but ultimately rather pedestrian drama gradually won me over as a minor if watchable example of the "victory through defeat" brand of military heroism that John Ford specialized in.
10. Thrilling, heartwarming, scary, and superb.


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

Built on lavish vistas and impeccable production, Australia is unfortunately burdened with thinly drawn characters and a lack of originality.


1. Can two lonely hearts come together as one, rendering them Best Friends? I don't care, and neither should you.
2. Between this and I Am Sam, someone should call protective services on behalf of young Fanning.
3. (Brittany Murphy)is capable of so much more than becoming another Reese Witherspoon, wasting her talents for a fat paycheck.
4. The movie turns Fanning into a line-spewing automaton rather than a real human being.
5. ...obvious, pandering, prat-falling silliness that gets about a 20% return on its talent investment
6. An utterly vacuous bit of fluff...one of those clumsy concoctions in which every element rings false and all the seams show.
7. Or maybe the film is so fun because we actually get to see Dakota Fanning slap the living **** out of Brittany Murphy at Coney Island.
8. It may be junk food with high sugar levels, but the inspired teaming of rising young actress Brittany Murphy and precocious tot Dakota Fanning makes you forget those hazardous sweeteners.
9. the audience is left with nothing else to do but give a collective yawn of impatient indifference
10. I'm a fan of both Murphy and Fanning; but this film might be one they'll leave off their resumes.

Write a one sentence summary of the reviews above.

With two obnoxious lead characters and an uneven screenplay, Uptown Girls fails to charm.


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

You see them hunched over with their brows furrowed, folded newspaper in hand as they attempt to complete the crossword puzzle. This may even describe you. This ingeniously edited documentary introduces viewers to some of the more dedicated fans of this solitary pastime, none more well-known the puzzle editor for the New York Times, Will Shortz. This underground world provides a surprising amount of crowd-pleasing entertainment and suspense, especially at the annual crossword tournament. Didn't know there was one, did you?


Here are some reviews for a movie: 1. Alexandrowicz's vitriolic wit is reserved for the secret part of all of us that idealizes the rewards of the road.
2. The film whips-up a benign portrait of slavery instead of making a true-grit political statement on the nature of New World capitalism.
3. A smart and satisfying parable about immigrant exploitation that doesn't pander to mainstream liberal attitudes about victimization.
4. Much of the charm of James is attributable to Siyabonga Melongisi Shibe, the absorbing South African actor who portrays the enchantingly guileless religious pilgrim of the title.
5. It has a thought-provoking mix of skepticism, hopefulness, and respect for all but its most scurrilous characters.
6. A deceptively modest fable of innocence abroad that resonates with the situation within Israel and without.
7. It offers two atrocious ethnic stereotypes for the price of one.
8. A beguiling film, greatly aided by an exuberant soundtrack.
9. It's a sweet and effective present-day fable.
10. Searing little parable.

What was the overall consensus about the movie?

A smart and funny social satire about modern-day Jerusalem.


1. Election is smart and often funny.
2. Too smart for mass appeal. One of this year's best.
3. Election is a bracingly intelligent adult comedy that shrewdly captures adolescence.
4. Reese Witherspoon is proving to be one of the most versatile actresses of her generation.
5. So precise, so hilarious, so biting, so smart, so perfect, in every one of its minute details that it comes as a sort of godsend.
6. If satire is simply a witty exaggeration of ordinary events, then this is satire at its brightest.
7. It's an interesting enough premise and it's executed with a 'Rushmore Lite' kind of feel to it.
8. A satirical scalpel that refuses to let you know exactly when or whom it's going to cut.
9. A satirical joy, due mainly to the performances of Reese Witherspoon as Tracy, Matthew Broderick as McAllister, Chris Klein as Paul and, especially, Jessica Campbell as Tammy.
10. Reese Witherspoon may well find that this is a defining role in her early career.

What is a brief summary of the following reviews?

Election successfully combines dark humor and intelligent writing in this very witty and enjoyable film.


Summarize the following movie reviews:

1. Returning director Andrew Adamson lacks any sort of epic vision and as a result, the experience of watching the film is a lot like listening to the world's most exciting bedtime story being read by someone with the world's most grating monotone
2. I suggest buying a ticket to Prince Caspian, going to grab a bite to eat for the first hour of the film and then heading back to the theatre for the amazing ending battle.
3. Despite a casting flaw and uncomfortable pacing, 'Prince Caspian' is an epic adventure with brave characters, amazing creatures and incredible special effects.
4. Adamson overcomes some of the book's better-read-than-spoken dialogue and the odd bits of chunky plotting with plenty of grace and charm.
5. Up against other summer blockbusters and practically going head to head with Indian Jones, Chronicles of Narnia fans will not be disappointed in this rousing fantasy.
6. Thrilling action combined with a big step up in the cast's performances make The Chronicles of Narnia: Prince Caspian a fun, if unequal sequel.
7. Everything about Prince Caspian is just right in terms of cinematography, scope and vision; the tone is dark but hopeful and epic but intimate.
8. Puss in Boots, Gimli and Jesus Christ walk into a bar. The bartender, noticing how down they all look, asks what's wrong...
9. In steering the film closer to his own vision, director Adamson steers it away from C.S. Lewis's, and so it loses some of the book's core spiritual themes.
10. [T]here's a not-so-subtle undercurrent of the White Man's Burden in these stories.

The Chronicles of Narnia: Prince Caspian is an entertaining family adventure worthy of the standard set by its predecessor.


Summarize the following movie reviews:

1. A Bug's Life, with its excellent animation and humorous moments, is worth a matinee viewing.
2. Entertaining computer-animated fantasy epic.
3. The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance.
4. Denis Leary is the most dead-on vocal casting of the year.
5. It is not just clever, it is imaginative. There are some genuinely inventive scenes that only an ant could have dreamt up. The people at Pixar must have worked hard at having so much fun.
6. This animated fable teems with vivid creatures standing on their own countless feet.
7. Cute animated tale with some mild peril and scary bugs.
8. The colours are vivid, the detail incredible and the vocal performances, led by Foley, are fine. Happily, it works on both a child's and adult's level.
9. A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with.
10. pure joy--whimsical, funny, and downright entertaining

A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters - and another smashing early success for Pixar.


1. ut when all is finally revealed it’s gesture—especially the hands—that lifts this film into the ranks of extraordinary and ... bears repeated viewings to savour the subtlety and intimate sense of self.
2. Starting Out in the Evening has a formidable performance by Frank Langella to recommend it.
3. A bravura performance from Frank Langella blended into a lackluster story.
4. Awkward and sometimes overly subtle, but compelling performances by a cast of normally supporting actors who make the most of their much deserved chance to carry a film.
5. Wagner has turned the page on a promising career, and it will be exciting to see what the next chapter brings.
6. Starting Out in the Evening is thrilling in a way that a movie larded with car chases and explosions can seldom be, because of the way it deals with that basic building block of civilization, the creative process.
7. Criminally overlooked, this is a great movie, about which I could find no complaint or overt flaw except feeling that Taylor (whom I do love) was mostly a distraction. See it if you can.
8. Langella's nuanced performance saves the film; the actor has an understated but powerful role, and he takes full advantage.
9. Wagner's film is an elegy of sorts for that once-mighty beast known as the New York Writer, a creature that now finds itself increasingly marginalized in a world in which readers are getting scarcer and shelf space for serious fiction is dwindling daily.
10. It's Langella's performance that anchors the film.
Based on these individual reviews, what is the critic consensus?

Starting Out in the Evening features sharp dialogue and moving performances from the talented Frank Langella and Lili Taylor.


1. It is truly charming and moving, without so much as a hint of overt sentimentality.
2. A charming fantasy with a moral that grows from within the heart of the film.
3. Attention, parental units: We are happy to report there is intelligent life in feature animation beyond planet Disney.
4. With its austere look and the absence of music, The Iron Giant is something new, arresting and quite wondrous in the way of animated movies.
5. The characters are well conceptualized, and a few computer-aided shots are quite breathtaking.
6. The Iron Giant is a spirited, well-made family adventure.
7. The Iron Giant succeeds where its predecessors failed - by offering an actual story and no friggin' songs.
8. A genuine and impressive pleasure.
9. This is a film the whole family can enjoy - and talk about afterward.
10. This will probably be the world's shortest, four-star review and could be encapsulated in simply one monosyllable -- Go.

What is a brief summary of the following reviews?

The endearing Iron Giant tackles ambitious topics and complex human relationships with a steady hand and beautifully animated direction from Brad Bird.


Write an ordered list of reviews about "blue jasmine".

1. Cate Blanchett classes up a dated Woody Allen melodrama.
2. Allen is a famously hands-off director, and while this method succeeds on occasion, too many scenes in Blue Jasmine betray a directorial negligence.
3. Very Unhappy Movie
4. In "Jasmine," Allen has created a situation and characters that are both timely and timeless, rooted in classic circumstance but set in recognizably contemporary situations.
5. Guided by a powerhouse turn from Cate Blanchett, this grievously funny, shrewdly devastating character study is as focused and emotionally rewarding as anything Woody Allen has made in the twenty-first century.
6. Woody writes and directs, but does not appear in his own movie. Instead, he has imbued Blanchett's character, Jasmine, with all the neurotic, distraught and unstable tendencies that Allen usually reserves for himself.
7. "Blue Jasmine" is a real dramatic treat, one that is destined to become a classic.
8. My only question, come year's end, is: who will be the other four actresses to get Oscar nominations? [Cate] Blanchett's, I think, is assured.
9. Unsettling and insightful, it's Woody Allen's 48th film - and one of his best.
10. Blue Jasmine ranks with Vicky Cristina Barcelona and Midnight in Paris at the top of Woody Allen's recent movies.


Here are some reviews for a movie: 1. Makes for very entertaining viewing, though it hardly feels necessary.
2. The true story behind Dog Day Afternoon is fascinating fodder for a documentary, but The Dog squanders this by letting its sociopath subject run the show.
3. As a portrait of a life lived strangely-and if you asked its subject, perfectly, with no regrets-The Dog is charming.
4. For all its eye-opening material, The Dog still feels unfinished, but for students of New York scuzziness, it's an essential addition.
5. Directors Allison Berg and Frank Keraudren fill "The Dog" with terrific archival footage that captures the feel, look and sound of a bygone, character-filled era.
6. It's informed with a subtle but disquieting subtext that insists on the pitfalls of allowing ideology to steer you away from common sense.
7. What makes The Dog so compelling isn't Wojtowicz's cinematic imprint but the place in history that was very likely denied him by chance and his own irascibility.
8. Working as both an unofficial Dog Day sequel and unconventional overview of New York gay culture from the past 40 years, The Dog combines archival footage, still photographs, and testaments from many of those who knew Wojtowicz well.
9. [Wojtowicz] may be crazy and full of himself, but his magnetism is hypnotic, and it makes this modest documentary a delight from start to finish.
10. Vintage material and first-hand accounts add to engaging expansion on the true-crime tale.

What was the overall consensus about the movie?

Fascinating, evocative, and as unconventional as its subject, The Dog offers a colorful window into the real-life story behind a classic film.


1. One feels the passionate intensity of the filmmaker in every strand of his luminously intricate narrative.
2. Elliptical, sweeping, lovely and thoroughly confusing, Ashes of Time Redux is not a film to rent. It's well worth paying to see it on the big screen.
3. ... magnificent on a purely sensual level ... The new version is shorter by about ten minutes and is divided by chapter headings, which make the film slightly less confusing.
4. One man's befuddlement is another's awe at the ineffability of time, and from either perspective, this is a spectacle not soon forgotten, even if never understood.
5. Ashes of Time looked battered and bleached-out; Redux takes place in an alternate universe in which sand is the color of mustard and skin looks like it's ready to ignite.
6. The kicks are more to the head and heart than to the body.
7. Ashes of Time Redux is primarily a sensory experience that deserves to be seen on as big a screen as possible.
8. This is a film for followers of Wong Kar Wai and for fans of nostalgia.
9. Martial-arts fans may find themselves disappointed, but Wong Kar-wai addicts will be delighted.
10. Shot by Wong's longtime cinematographer, Christopher Doyle, Ashes is dreamy and splendid and definitely deserves to be seen on the big screen.
Based on these individual reviews, what is the critic consensus?

Wong Kar Wai's redux, with a few slight changes from his 1994 classic, is a feast for the eyes, if a little difficult to follow.


Summarize the following movie reviews:

1. The movie is skillfully paced by rising director Gary Fleder and has all the usual Grisham touches: big issues, broad characterizations, tense showdowns and a swelling bounty of twists and clues.
2. Like most of Grisham's stories, the set-up is better than the wrap-up, but this is a cast that knows how to satisfy, even when the material doesn't.
3. The kind of bracing psychological thriller that makes a case for the battle of ideas being every bit as thrilling as a great fight scene.
4. A tepid legal thriller . . . madly edited, with serviceable performances and dialogue that's snappy without being biting. . . . evades answering the moral questions it poses.
5. .
6. [O filme й] suficientemente inteligente para prender a atenзгo do espectador sem se tornar maniqueнsta.
7. may send lawyers' eyes a-rolling, but audiences should willingly indulge every fast-paced moment
8. Anexpertly crafted crime thriller that knows how to juggle the facts and the action without bogging them down in fits of overkill.
9. Good performances, a quicksilver pace, and some modest surprises result in a satisfying popcorn picture.
10. The film is well enough made to keep our interest, even if it never comes close to delivering on the promise of the material or the cast.

An implausible but entertaining legal thriller.


The critic consesnsus is: Though there was controversy over the choice of casting, Zellweger's Bridget Jones is a sympathetic, likable, funny character, giving this romantic comedy a lot of charm.. What reviews supported this critic consensus?

1. It's pretty funny to watch as every family member she runs into asks when she's going to settle down, but there is really little difference between them and the host of older characters in Austen's novel who constantly scheme and plot marriage connections
2. ...never fully comes to comedic life, seldom reaches out emotionally, and provides few new insights into the perils of love and dating.
3. "Bridget Jones's Diary" belongs to Bridget. It belongs to Renée Zellweger.
4. Zellwegger uses a limitless reserve of humility and vulnerability to capture hearts. She's stunningly sympathetic.
5. There are astute observations along the way, more than enough big laughs and, in Zellweger's capable hands, a terrific look at a singleton on the verge of a nervous breakdown.
6. Firth exudes a Ralph Fiennes-like smoldering charisma, taking a role that Fiennes himself would probably never stoop to accept.
7. And I thought romantic comedies had become stale.
8. It did a good job balancing comedy and message.
9. Oh, such fun for older teens!
10. A hugely enjoyable film which will appeal to broken-hearted cynics and hopeless romantics alike.


The critic consesnsus is: Elevated by a gripping performance from Julianne Moore, Still Alice is a heartfelt drama that honors its delicate themes with bravery and sensitivity.. What reviews supported this critic consensus?

1. Moore's performance is exquisitely nuanced - the only thing worth remembering about this otherwise tone-deaf weepie.
2. Still still hums with humanity in the person of Moore, whose towering performance shows a staggering technical proficiency while never losing a whit of emotional resonance.
3. This thoughtful movie ... raises an issue any of us might face.
4. Jullianne Moore is devastating without italicizing anything
5. When she wins the Academy Award, I'm just going to pretend it was for Todd Haynes' 1995 masterpiece, Safe, and leave it at that.
6. The focus on Alzheimer's might be off-putting, but don't let that stop you from seeing Julianne Moore in Still Alice.
7. As films about people with devastating diseases go, Still Alice is understated, thought-provoking, and written and directed with a steady hand.
8. A horror movie for gentlefolk: Its methodical terrors -- memory loss, disorientation -- seem all too likely, especially for mature moviegoers less worried about things that go bump in the night than the fall of night itself, so to speak.
9. I'm saying it could have been more worthwhile and aware than it is. As for the film, it has two strong performances and enough grace notes to make that a solid yes, you should see this.
10. A mind is a terrible thing to watch waste away and rarely has the horror of losing one's inner self to Alzheimer's been conveyed as precisely and powerfully as it is here.


1. An awkward mix of standard genres that doesn't give us what we desperately need in this increasingly desperate political season -- a black and snarling assault on our imbecile status quo.
2. Confusion and mixed messages work against a coherent viewpoint -- and laughs.
3. A wishy-washy thriller with political leanings that never quite fit.
4. Pic eventually overcomes an awkward start and turns into a satisfying candidate for the disposable movie dollar with a story that stays on your mind.
5. In short, it would have been great if it had stopped, oh, 12 minutes in.
6. There's nothing about Man of the Year that's quite as fantastic as its depiction of moribund Saturday Night Live as culturally and politically relevant.
7. As well as this may have worked as a comedy ... it tries too hard to be a thriller and a drama, which is where it falls flat on its face.
8. It's a difficult assignment to pull all the genre strings into a tight ball of serio-comedic yarn. My cat Hillary could have done a better job with less effort.
9. Robin Williams' character can't decide when to be goofy and when to play it straight, and neither can this uneven "what-if" political comedy from writer-director Barry Levinson.
10. Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed Wag the Dog.

Write a one sentence summary of the reviews above.

Weakened by second-half attempts at thriller and romance, this presidential comedy also fails to hit any sharp political notes, resulting in a confused and unsatisfying mess.


Here are some reviews for a movie: 1. [A] lean, mean surviving machine of a film.
2. The performances here are as excellent as they are unnerving.
3. Takes what could have been a mundane if well-made war story into something greater -- more harrowing, more hungry and more human.
4. It's easy to understand why Herzog was driven to tell this story twice.
5. From a director known for his obsession with obsessions, it's an unfortunate smoothing out.
6. It would be interesting to pair this well-reviewed 'art' film with 'Make Them Die Slowly' or another of the usually reviled Italian jungle-atrocity movies that covered similar ground, literally (dense tropical forest) and incidentally.
7. Even if this story weren't true, it would still be riveting. Herzog has found inspiration in the wilds of the jungle once again.
8. Politics aside, Herzog uses a realistic tone to depict a high-energy capture and escape.
9. Naturalistic..the dialogue was very unforced, [and it contains] spectacular performances.
10. Herzog outdoes himself with Rescue Dawn, making his most popularly accessible film yet and proving at the same time that he is among the most daring of all filmmakers.

What was the overall consensus about the movie?

Director Werner Herzog has once again made a compelling tale of man versus nature, and Christian Bale completely immerses himself in the role of fighter pilot (and prisoner of war) Dieter Dengler.


Write an ordered list of reviews about "how to lose friends and alienate people".

1. "Megan Fox is mind-bogglingly beautiful. When she walks into a room, you almost have to look away," Simon Pegg said with a laugh in an interview with HollywoodChicago.com on his new film How to Lose Friends & Alienate People.
2. ...all bark and no bite, the behind the scenes machinations of a hugely influential magazine used as mere window dressing for an uninspired romantic comedy.
3. It's silly but mostly entertaining, and Pegg's open, expressive face is always funny. Perhaps without entirely realising it, the movie provides a through-the-looking-glass satirical version of Ugly Betty and The Devil Wears Prada.
4. The film has none of the self-lacerating pain of Young's book, but as an exercise in humiliation it is second to none.
5. Screenwriter Peter Straughen has converted the original parade of pitfalls and self-mythology into a serviceable rom-com and he's also managed to work in some decent gags for Pegg to work with.
6. It has been pared down to a light comedy with a little romance on the side, and works competently in these terms.
7. It's not a very faithful adaptation, it doesn't make great use of Simon Pegg and Kirsten Dunst has still got those teeth, but there's little here that's offensive and more than enough that's amiable.
8. For a film about upholding personal ideals, its glossy packaging and derivative 'will he get the girl?' narrative sell any credibility down the river in favour of affected screwball larks.
9. Weide... has made an American film, but with a British sensibility; he layers good, broad, dry jokes onto the bones of a traditional Hollywood plot arc.
10. The crushingly unfunny and slopped-together How to Lose Friends & Alienate People has neither the ambition nor the intelligence to do justice to its source material.


1. As happily glib and vicious as its characters.
2. Just watch Bettany strut his stuff. You'll know a star when you see one.
3. Great performances, stylish cinematography and a gritty feel help make Gangster No. 1 a worthwhile moviegoing experience.
4. Yet another genre exercise, Gangster No. 1 is as generic as its title.
5. Certainly the performances are worthwhile.
6. The movie's captivating details are all in the performances, from Foreman's barking-mad Taylor to Thewlis's smoothly sinister Freddie and Bettany/McDowell's hard-eyed gangster.
7. Seeks to transcend its genre with a curiously stylized, quasi-Shakespearean portrait of pure misogynist evil.
8. A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists.
9. As a movie, Gangster No. 1 is bunglesome, but as a feature-length musing on a theme, it's bold and resonant.
10. Feels like pieces a bunch of other, better movies slapped together.

What is a brief summary of the following reviews?

Gangster No. 1 is brutally violent, yet also compelling.


Write a one sentence review of the movie "son of the bride".

A film about one man's mid-life crisis, The Son of the Bride is both touching and funny.


1. Husbands and Wives is a defining film for these emotionally embattled times; it's classic Woody Allen.
2. This is one of Woody's best films, but it's also extremely bitter.
3. One of Allen's most criminally underappreciated films.
4. What makes the film truly memorable turns out to be Judy Davis's spiky performance as a perfectionist determined not to let her divorce undo her tidy little world.
5. Husbands and Wives comes close to the exquisite stuff of art.
6. Allen, the schlemiel, has humiliated himself and hurt his family, disillusioned his fans and become a case in point for the GOP, but he has also hit upon an issue that is universally applicable.
7. It's fun to watch, interesting to hear, and revelatory to discuss.
8. Allen is in top form here.
9. With its relationship angst and Lolita temptations, Husbands and Wives hits embarrassingly close to Allen's home. But it also hits its comic target.
10. What Husbands and Wives argues is that many "rational" relationships are actually not as durable as they seem, because somewhere inside every person is a child crying me! me! me!

Write a one sentence summary of the reviews above.

Husbands and Wives is a blistering, emotionally raw snapshot of two marriages self-destructing.


Summarize the following movie reviews:

1. Despite being inspired by actual events, it all comes off more confounding than tragic or romantic.
2. Despite the film's tightly constructed reserve, Hausner saves one last trick for the end: As unknowable as these characters are, you may be surprised how much you miss them.
3. There's no blood pumping through Hausner's characters' veins.
4. Less than propulsive as a narrative, but provocative, instructive, consistently surprising and a kind of slow-motion thriller.
5. This visual confinement underscores the lack of intimacy and agency in Henriette's life. Her longing for escape is understandable. She's surrounded by men for whom a woman's life is predicated on silence.
6. Hausner has cast the movie brilliantly: We know volumes about wife, husband, and poet just from their faces and the way they move.
7. The build-up scenes of talk and philosophising, in salons and sitting rooms, are hypnotic.
8. From this droll premise, potentially as dark and dry as blackened toast, Hausner spins a witty, unexpectedly touching meditation on the nature of partnership and the elasticity of fate.
9. Finely finessed in gesture and metronymically measured in pace.
10. In Hausner's deft hands, the comedy makes the existential exercise even more challenging, forcing the audience to ponder awkward truths beneath the chilly humor.

Amour Fou risks overpowering its deceptively impactful story with its remarkable visuals, but ultimately forms a fascinating whole.


Here are some reviews for a movie: 1. Watch out, all you kids who don't believe in Santa. You will believe. Or else.
2. A film creepy as it is uncreative, The Polar Express creates a filmmaking experience that gives us Steven Tyler as a singing elf.
3. ... An early and unexpectedly intelligent gift.
4. A real snoozer.
5. Some books aren't meant to be made into movies. This is one of them.
6. In the end, the computer wizardry palls, but the story's heart chugs on triumphantly.
7. The numerous kids in the audience responded with rapt attention and applause at the end, so it's safe to say your kids will love it.
8. Its storybook look and early energy is enthralling, but the end message is not so much that believing keeps you young as it does guarantee membership in an important club.
9. The film falls short of present expectation.
10. If you have a chance to see the 3-D IMAX version of the movie, ignore any objections.

What was the overall consensus about the movie?

Though the movie is visually stunning overall, the animation for the human characters isn't lifelike enough, and the story is padded.


Here are some reviews for a movie: 1. Affleck harnesses the pulpy material with a gritty, realistic flair that keeps you enthralled right up to the bombastic finale, where the director finally loses his grip.
2. While the film never reaches that true level of greatness, Affleck has crafted a well-made heist film with amazing performances from Lively, Postlethwaite and Renner.
3. There's rarely a moment in the film when we don't feel Doug's pain and uncertainty.
4. If Affleck is able to continually churn out quality films that are as flawless in execution as his first two, we might have another Martin Scorsese on our hands.
5. I give tremendous props to Mr. Affleck for keeping my butt in the seat and engaged for a movie that has not one story beat that isn't visible marching up Comm Ave.
6. Hewing close to heist-movie genre conventions isn't a weakness when you do it as well as Affleck does here.
7. A well-acted, suspenseful, refreshingly intelligent and character-driven crime thriller with just the right balance of action, drama and comic relief.
8. A conventional storyline buoyed by a host of exceptional performances.
9. Well-acted, atmospheric crime drama is a solid sophomore directing effort from Ben Affleck.
10. A fast-paced thriller with outstanding performances...

What was the overall consensus about the movie?

Tense, smartly written, and wonderfully cast, The Town proves that Ben Affleck has rediscovered his muse -- and that he's a director to be reckoned with.


1. The Two Towers, then, is the greatest blockbuster ever made without either a beginning or an end, a feisty beast with a hollow ring in its bones.
2. The movie doesn't deepen or expand the tale's themes as masterfully as The Empire Strikes Back added to Star Wars' mystique. But as a stirring story of unsullied heroism, it's a winner, and as an action epic, it features superb battle sequences.
3. An army of filmmakers led by the director, Peter Jackson, has made the trilogy's central section a ringing testament to the power of motion pictures.
4. The second chapter of Peter Jackson's seminal epic disffers from the first in narrative and tone, there are more battle scenes and the mood is darker.
5. Gollum and the battles are a triumph of integrated art and technology, and the battles a masterstroke of sheer logistics. (Extended Edition)
6. Andy Serkis's work in creating Gollum deserved an honorary Academy Award. His gestures and voice, not computer software, make Gollum so memorable as he wrestles with his inner homicidal maniac. A soaring, searing tale of wonderment.
7. Spectacular entertainment.
8. To say that this is a great movie would be an understatement.
9. More graphic in its violence and more fantastic in its imaginings than the first film.
10. Glorious escapism that will not make you feel dirty the morning after.
Based on these individual reviews, what is the critic consensus?

The Two Towers balances spectacular action with emotional storytelling, leaving audiences both wholly satisfied and eager for the final chapter.


1. One of the most potent politically-charged dramas ever made, managing to honor both the epic and the intimate aspects of its drama. One of the top films of the '80s.
2. Powerful, unsettling, factual; Oscar caliber acting all around.
3. First time feature director Roland Joffe shoots the drama with an unforced realism lent a terrible grace by the handsome images and smooth, unobtrusive long takes...
4. Without doubt one of the finest British films of the last 50 years.
5. The screen is swamped by a bathetic, self-preening sententiousness.
6. A deeply moving film.
7. The intent and outward trappings are all impressively in place, but at its heart there's something missing.
8. The film's overall thrust -- angry, intelligent, compassionate -- makes this producer Puttnam's finest movie to date.
9. A mighty accomplishment, and possibly the bravest Britflick yet made.
10. Epic and heartrending.

Write a one sentence summary of the reviews above.

Artfully composed, powerfully acted, and fueled by a powerful blend of anger and empathy, The Killing Fields is a career-defining triumph for director Roland Joffé and a masterpiece of American cinema.


1. The tragi-comedy never made me reach for my hankie, never tickled my funny bone and it never found a way into my heart.
2. This hugely successful tear-jerker boasts some magnificent on-screen chemistry between Jack Nicholson and Shirley MacLaine.
3. Its soppy story is freed from cheap tear-jerking by Brooks' confident direction, Larry McMurtry's poignant script and a flawless ensemble.
4. There's not enough substance to support the sentiment of this longish comedy-drama.
5. It takes all of perhaps five minutes to fall in love with the leading characters in Terms of Endearment and from that point on, the audience is just putty in the extremely capable hands of writer-director James L. Brooks.
6. In his directorial debut, Brooks proves himself a master with actors.
7. Glossy, funny, and packs a real emotional wallop.
8. Its quirky rhythms and veering emotional tones are very much its own, and they owe less to movie tradition than they do to a sense of how the law of unintended consequences pushes us ceaselessly through the years, permitting no pause for perspective.
9. This is American mainstream movie-making at its best.
10. Terms of Endearment is about three relationships and students of screenwriting would do well to study the way in which these three stories are told completely and effortlessly in a movie of average length.
Based on these individual reviews, what is the critic consensus?

A classic tearjerker, Terms of Endearment isn't shy about reaching for the heartstrings -- but is so well-acted and smartly scripted that it's almost impossible to resist.


1. Extraordinary.
2. It's a cornerstone of the French New Wave, and one of the greatest movies about childhood, from anywhere, ever.
3. Henri Decae's black and white photography helped Truffaut enormously but what the director himself provides is a sense that though there is no easy answer to the problems of growing up, there is a hope that will never be wholly denied.
4. Childhood's frustrations for Truffaut are never far from its lilting delights
5. Francois Truffaut's debut film not only galvanized the Nouvelle Vague movement of French cinema, but he also generated a personal filmic idiom that he would elaborate on for the rest of his career.
6. A rich and fascinating look at youth and its fleeting joys...
7. Truffaut's ode to his childhood is an engrossing watch that is alluring in its simplicity and brilliant in its direction. It flows nicely at its own pace, never allowing melodrama to ruin its realistic and voyeuristic atmosphere.
8. Truffaut brought a fresh and piercingly honest portrayal of troubled youth to the screen. In many ways, Antonie Doinel is not only the cinematic embodiment of Truffaut, but also the French New Wave as a whole.
9. Truffault's masterpiece. Timeless and true, heartbreakingly sad.
10. François Truffaut's iconoclastic feature debut and one of the most enduring examples of the French New Wave.
Based on these individual reviews, what is the critic consensus?

A seminal French New Wave film that offers an honest, sympathetic, and wholly heartbreaking observation of adolescence without trite nostalgia.


1. A fleet and surefooted account of Scientology's origins, Hubbard's years at sea escaping U.S. taxes, and the misery and harassment faced by the church's apostates.
2. Hollywood and Scientology have often collided, but never quite as explosively as they do in Going Clear, the revealing documentary by Oscar-winning filmmaker Alex Gibney.
3. This frequently jaw-dropping documentary... demonstrates vividly how a cult can spread among people searching for something greater in their lives, some advantage over others, some grand answer.
4. There is little breaking news in Going Clear, but the film is eye-opening for those who haven't seen past reports.
5. Excoriating, compelling, genuinely frightening documentary from Oscar-winning director Alex Gibney (We Steal Secrets; Enron) about the strange workings of the powerful Scientology movement. Forget the Tom Cruise/John Travolta/South Park jokes.
6. Even if half of Gibney's film was to be considered tainted, the work of people who have scores to settle, it would be hard to dismiss. They can't all be liars.
7. There is order and selection, of course - to say that this is storytelling is not to impugn its parts - but much of what he has to show you is remarkable in or out of this context.
8. Going Clear: Scientology and the Prison of Belief... is at times jaw-dropping, scary, unnerving, even disturbingly funny.
9. Whether you come away seeing Scientology as a cult that ensnares vulnerable people or as a faith of self-empowerment, the film leaves a terrible taste of too much information. This must be its point, but take heed just the same.
10. We hear the other side -- the people who have left the organization ... What they have to say is equal parts fascinating, disquieting, and downright frightening.

What is a brief summary of the following reviews?

Thoroughly disquieting but impossible to ignore, Going Clear: Scientology and the Prison of Belief is a searing investigative work from a master documentarian.


1. Boy, you know, I really like the Chiodo Brothers' Killer Klowns from Outer Space. I can't help it.
2. Chiodo takes an alien invasion plot familiar from the 50s, and makes it all his own by rigorously and liberally painting it with every clown reference imaginable.
3. 'Can't Sleep, Clowns Will Eat Me.' Not just pretty words, thanks to the Chiodo brothers.
4. The title alone encourages immediate dismissal, but for those on the hunt for something miles away from the norm that showcases truly inspired moviemaking minds, Killer Klowns from Outer Space is a superb cult distraction.
5. The title says it all...and is the only reason to see this misfire.
6. It's a one-gag movie, but while some of the iterations of that gag are about as hilarious as a squirt in the face from a plastic flower, a few are genuinely rib-tickling.
7. Warped fun with memorably weird ideas, effects and costumes
8. This krazy, kooky movie strings together the creature feature with the alien movie, and pumps it full of dark humour
9. IT'S GOT CLOWNS! FROM OUTER SPACE! AND THEY'RE KILLING PEOPLE! What's not to like?
10. The name says it all, and the movie delivers.

What is a brief summary of the following reviews?

Killer Klowns from Outer Space's title promises darkly goofy fun -- and more often than not, the movie delivers.


1. Rent it on Christmas Eve and give that "Wonderful Life" [expletive deleted] a rest for one year.
2. Marks the peak of the 1980's action boom that made mega-stars out of the likes of Ah-nuld, Stallone and Van Damme.
3. A perfect action movie in every detail, the kind of movie that makes your summer memorable.
4. The granddaddy of a whole genre of action films still remains sharp, tough, and exciting.
5. It gets your heart pounding, then makes you hate yourself for it.
6. Inappropriate and wrongheaded interruptions reveal the fragile nature of the plot and prevent it from working.
7. For an evening of edge-of-your-seat entertainment, you’d be hard pressed to do much better.
8. Bruce Willis discovered his movie legs in this superb action movie.
9. ...practically reinvented the action thriller, or at least resuscitated a moribund genre.
10. It may seem, in measure, that watching this in lieu of Frosty or Rudolph violates a practice during a holiday known and based on custom. However true, there is a discernable heart in Die Hard.
What is the consensus?

Its many imitators (and sequels) have never come close to matching the taut thrills of the definitive holiday action classic.


1. What makes it all work is Amenabar's smoothly assured handling of the material, which is always in danger of becoming too silly to bother with.
2. a startling debut from an eye-opening new talent
3. The ending makes us catch our breath not because it's so clever, but because there's so much to the film even without the final revelation.
4. A jaw-dropping psychological thriller about the power of the human mind to bend and break reality.
5. A resonating portrait of millennial angst that ultimately amounts to little more than a preposterous guessing game.
6. The first portion of the movie can't possibly prepare audiences for what turns out to be a series of inane plot contrivances, which help the movie end with a real thud.
7. A film with enough intellectual meat on its stylish bones to give more adventurous moviegoers something to chew on afterward.
8. I felt uninvolved, finding myself drifting into my own dreamworld instead of the filmmaker's.
9. Well acted by a primarily young cast headed by Eduardo Noriega and possesses several particularly bold images that take good advantage of the qualities of the medium.
10. When they finally reveal the Big Secret, you're liable to just shake your head -- both because it's so ludicrous and because you can easily and correctly write the epilogue.

Write a one sentence summary of the reviews above.

Director Alejandro Amenábar tackles some heady issues with finesse and clarity in Open Your Eyes, a gripping exploration of existentialism and the human spirit.


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

Honeydripper's electric musical numbers and sharp performances make for an exciting film, despite its slow pace.


Which movie is the following review about?

Deeply entertaining, from the gripping opening to the breath-taking finale.


Here are some reviews for a movie: 1. [Morgen and Burstein] reinvigorate the usual menu of archival footage with a 3-D cutout style that imbues inert black and white stills with a playful, camp dynamism.
2. Witty, charming, ultimately empathetic portrait of a once-upon-a-time industry titan.
3. The movie's high points ... are the ones when he's most fervently selling himself, as in the delightful scene where we see Evans rescue his job (and his studio) with a suave promo film/presentation directed by Mike Nichols.
4. A stylish, be-boppy portrait of a true individual with his own, invented vocabulary ... and his own, semi-invented take on the events of his life.
5. An incredibly entertaining movie.
6. By the end of the film, one suspects that you'd have a hard time finding an audience member who wouldn't love to sit down for a drink with the guy.
7. The audience can't tell where the embellishing is, nor should it care -- the portrait Evans paints is involving and entertaining.
8. ...the film equivalent of a book-on-tape.
9. A virtual roller-coaster ride of glamour and sleaze.
10. Watching [it], one of the best movies of the year, is pure bliss.

What was the overall consensus about the movie?

Though not objective by any means, The Kid Stays in the Picture is irresistibly entertaining.


Write an ordered list of reviews about "four brothers".

1. [Four Brothers] connects with underlying moral currents in the way Westerns used to, back before greed, fear, anger and 'society' provided action movies with all the motivation they needed.
2. Singleton's style over substance approach is the right way to tell Four Brothers' vengeful story
3. (Singleton) paces his drama like an hourlong television installment ... with curse words and gratuitous gore.
4. John Singelton proves the Western mythos can work just as effectively in an urban setting - that those hoary old cliches can find new life in the hands of a capable filmmaker.
5. Don't expect to see John Wayne's swagger in the urbanized rendition of "The Sons of Katie Elder."
6. Unremarkably schizophrenic -- half gritty sojourn into the inner-city furnace, half Hollywood brain death.
7. The camaraderie of a vintage Wester, "The Sons of Katie Elder," has been ubanized and updated into a violent, amoral revenge saga.
8. Along the way, the brothers and their increasingly pathetic adversaries indulge in all manner of licensed or officially overlooked violence, because making things right for your mama is all that matters.
9. An entertaining, escapist, not particularly ambitious ride.
10. Singleton appears to be having fun. But this is one film that would have earned more emotional resonance with a more serious, or at least focused, approach.


Write an ordered list of reviews about "beastly".

1. Maybe the next time they tell this story it'll star the cast of Jersey Shore and The Garbage Pail Kids. Why shouldn't it?
2. In every aspect, from story to tone to characterization to visual aesthetic, it's laughably perfunctory, as though everyone involved were too embarrassed to give it more than a half-ironic token effort.
3. A tween-baiting update that sullies the elegant fairytale with privileged brats in penthouses. Beastly is a crass, spirit-sapping bore.
4. 'Beastly' is a special brand of hogwash: a fairy tale that preaches inner beauty while refusing to obscure the looks of its doomed hero.
5. Fails to convince on every level, thanks to an ironically charisma-free performance from Alex Pettyfer.
6. Beastly has some groan-inducing lines and acting to match.
7. It's not nearly as bad as you've probably heard, thanks to a mercifully short running time and decent performances throughout, but a sloppy script denies Beastly the hormone-infused gravitas it desperately needs.
8. Beastly doesn't quite cover it. Not even monstrous, gruesome or grotesque come close.
9. Beneath it all, however, is a movie with a good heart.
10. Somewhere inside 'Beastly' is a gorgeous, intelligent film, straining to get out of a ridiculous subplot and dopey set-up.


Which movie is the following review about?

'Restrained' and 'tasteful' are not words normally associated with McG, the director best known for countless music videos and the Charlie's Angels movie franchise. We Are Marshall could change that.


Summarize the following movie reviews:

1. This wondrously meditative documentary is an artistic portrait depicting solitude. The fact that there is no narration, no dialogue to speak of is remarkable in itself.
2. The only place the camera doesn't go is the brewery. That's where the monks bottle their world famous Chartreuse liqueur, which sustains them financially.
3. For two hours and 42 minutes, Into Great Silence offers painterly images of an existence that is, almost literally, too reverent for words.
4. Something to behold.
5. Despite his restrictions, Groning finds light and shade, contrasting the natural - more chaotic world - with the regimented life within the cloister.
6. By the final third of the documentary, we evolve to a state of envy - envious at their resolute commitment and their utter faith - and even the most cynical atheist might find himself convinced that if anyone will find God, it is these men.
7. The Silence Before Bach: Illuminates a complexity of ideas, including the passive reflection prior to creative conception and organic to musical formulation and the space between sounds, that fascinate the filmmaker, both musically and cinematically.
8. [Director] Gröning creates a trance-like rhythm of visual and aural patterns, ranging from the repetition of duties and behaviors to biblical quotations.
9. I have never before experienced a greater example of utterly transcendent filmmaking.
10. This Silence is truly golden.

A meditative, deliberately paced doc capable of absorbing patient viewers into a whole different world.


1. The string-along, bad-to-worse nature of The Square affords a distinct, if sour, sort of satisfaction. Yet its construction is a thing of considerable soundness.
2. The Square is a solidly constructed thriller with some missing pieces at the center but vivid splashes of color outside the lines.
3. In terms of a modern crime thriller, you're not going to do any better than this debut film.
4. This brain teaser is tightly edited, cleverly plotted and smartly written. It is lacking in character development and leaves out the sexual gymnastics.
5. For all intents and purposes a film noir of classic proportions, The Square has such a good story it deserves to be seen without knowing too many details about the plot. So I'll avoid plot points, but to say that it is driven by love, betrayal, greed %u20
6. The Edgerton Brothers have come up with a terrific and wonderfully accessible film in which human nature is put under the magnifying glass with detrimental outcomes.
7. You needn't like the characters in a noir thriller as long as you're immersed in their growing desperation.
8. You wonder how the characters could be so inept about their dirty deeds. How did they get so badly in over their heads? It's almost Biblical in the way it metes out rough justice.
9. It's a finely calibrated, spiraling lesson in what not to do when engaging in adultery, blackmail, arson, and general antisocial behaviors, and in its best moments it recalls the everyday darkness of James M. Cain.
10. The Square is a morality noir in which there's very little onscreen morality.
What is the consensus?

The Square may not quite live up to the modern noir classics that inspired it, but with twists and tension to spare, it comes admirably close.


Summarize the following movie reviews:

1. Comedy, romance, sci-fi ... and wonderful whimsy, come together in this surprising film. We love surprises in our cinema, especially ones made with such heart
2. It's a warm, fuzzy indie and a covert sci fi triumph.
3. It will keep you smiling and keep you guessing. It's far from the safe, formulaic comedies that usually emanate from the big studios in Hollywood.
4. Content to charm our pants off rather than set our imagination on fire.
5. Safety Not Guaranteed has real pathos which is always a lovely counterbalance to comedy.
6. It's a slight and modest flick that occasionally lapses into sentimentality, but it's original and nicely carried by the actors.
7. It is one of those nicely-made efforts where every element sits perfectly in place, but the director is too tentative to shift them around too much. So they just sit there. The choice is yours: enjoy the stillness, or move on.
8. The film balances the extraordinary and ordinary with great aplomb, and Duplass and Plaza give beautifully judged performances.
9. If a group of your witty, talented and absolutely committed friends made a movie, this is the kind of truly 'indie' film to which they would aspire.
10. Each of the four central characters is quirky and flawed; what is supremely interesting is how we change our minds about them all. What begins as an oddball idea is fleshed out by way of a myriad branches, leading into different but credible directions

Safety Not Guaranteed's ostensibly modest ambitions are outmatched by the movie's strong performances, beguiling charm, and heartfelt story.


The critic consesnsus is: The look of Hook is lively indeed but Steven Spielberg directs on autopilot here, giving in too quickly to his sentimental, syrupy qualities.. What reviews supported this critic consensus?

1. muddled but fascinating
2. Also-ran Spielberg at best, a would-be blockbuster that no one likes at worst.
3. Who wants to spend over two hours with a Peter Pan who screams, 'Don't mess with me, I'm a lawyer!'
4. All Spielberg achieved is an impressive production design; in every other department, he's profoundly wasted talent, material, and time.
5. In the end, Hook isn't great or terrible, but it's both - a film that has some wonderful moments, and some really awful ones
6. You just have to appreciate its creative angle toward Peter Pan and his world.
7. A clumsy mishmash of a comedy.
8. "Peter Pan" redo has its moments with Hoffman and Williams.
9. Hook is overwhelmed by a screenplay heavy with complicated exposition, by what are, in effect, big busy nonsinging, nondancing production numbers and some contemporary cant about rearing children and the high price paid for success.
10. With all the money and talent and hype that went into this film, it should have been a lot better, but it is entertaining enough to rate a passing grade, especially for Robin Williams fans.


Write a one sentence review of the movie "lost in la mancha".

A remarkable behind-the-scenes look at a movie that wasn't, Lost in La Mancha is an incisive, entertaining document of the difficulties inherent in the moviemaking process.


1. Powerfully moving, revelatory, cathartic filmmaking.
2. One of the most powerful examples of film as self-healing, 'Tarnation' astonishes both as art and as testament.
3. Background is provided by affectless, unemotional words that seem to float on-screen, adding to the sense of dislocation, of fractured fairy tale.
4. A documentary on the making and selling of Tarnation - its most fascinating selling points - could have been more cohesive and compelling than the movie itself.
5. A fluid, emotionally acute movie full of soul and raw energy.
6. Tarnation may not always be pretty, but it's pure, powerful stuff.
7. It's one of the best movies of the year, and simultaneously one of its oddest.
8. Utterly absorbing and accessible.
9. Heartbreaking film.
10. Mesmerizing.

Write a one sentence summary of the reviews above.

Using music and home video footage to great effect, Jonathan Caouette has made a very personal and moving film.


The critic consesnsus is: A powerfully visceral docu-drama highlighting the evils of censorship and the essential need for freedom of speech.. What reviews supported this critic consensus?

1. Burma VJ would be even more intense without its early announcement that some scenes have been restaged, putting the viewer in a regrettably uncertain relationship to what follows.
2. the footage, with the picture jumping as frenetically as the protesters being filmed, brings home as nothing else quite can the energy and the danger of the events depicted
3. The word 'brave' is thrown around too liberally in Hollywood. The folks behind Burma VJ are the bravest souls you'll see on screen this year.
4. Burma VJ celebrates the courage of the Democratic Voice of Burma (DVB), a group of underground journalists who risked their lives to document the 2007 uprising against the junta.
5. If it is rather more interesting as a social and political document than a cinematic one, well, politics and society can be important, too.
6. Events are movingly and fortuitously recorded here, but the world's attention has shifted to other media moments.
7. It's powerful, to be sure, but the most interesting scene is one in which two reporters discuss the impact of their work; are they really changing anything?
8. ...pummeling, electrifying
9. Mesmerizing, Oscar-nominated inside look into the 2007 uprising via the cameras of 30 or so underground videographers who risked torture and prison to record the chaotic events surrounding the rebellion of Buddhist monks against the repressive military
10. No matter how many times anyone tries to appropriate shaky camera techniques, they'll never recreate anything as real as a reporter fleeing heavily armed police.