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

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

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

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

1. As heartbreaking as grief itself and as unexpectedly lovely as that warm certainty that our beloved friends and family continue to inspire us even after they're gone.
2. Draws a consistently witty and heartfelt portrait of contemporary British lives.
3. Would perhaps make a watchable pilot for a drama series. As a feature film, it's dull.
4. For these gifted directors and their fine ensemble, the notion that every life forms into a mosaic of intimate, largely unobserved details is the story most worth telling.
5. It is so adroit in its structure, so insightful in how it explores its vivid characters that it forces us to acknowledge not only how complicated all lives are but also how easy it is to be self-centered and miss those complications in everyone else.
6. Writer/directors Neil Hunter and Tom Hunsinger (Boyfriends) have crafted a circular triptych which changes audience perceptions of people, places and things depending on whose point of view we see them from.
7. It's frustrating because it is so well made and acted but can never find much of anything to say.
8. It's dedicated to a fuller understanding of the human condition, a deeper appreciation of everything we take for granted in even the messiest melodramas.
9. It thins out until the repetitive format begins to seem, well, repetitive.
10. The characters are full-bodied and authentic, capable of surprising themselves, and their dialogue is written with a good ear for how smart people try to be truthful and secretive at the same time.
1. As education by anthropomorphism goes, Maus this ain't.
2. ...Serves its purpose as end-of-the-summer entertainment for the young ones...it will likely be viewed once and forgotten in favor of other films with better repeat value.
3. The slapdash construction and narrative inconsistencies, however, aren't nearly as damaging to this aerial adventure as the general mediocrity of its animation.
4. A cornucopia of British character actors enliven this flashback to the war movies of yesteryear.
5. A nice half hour documentary on the Discovery Channel would have sufficed quite nicely and been much more entertaining.
6. People who liked the Shrek flicks may actually try to prove their sophistication amongst themselves by rejecting this pale imitation of an embarrassing cultural artifact.
7. modern kids won't get any of the World War II references, and to be honest, the rest of the adventure is mediocre at best.
8. Will engage your little ones minimally while in the theaters but will leave them without any desire to get the DVD later in order to see it again.
9. Doomed by its script to a sort of tedious mediocrity, this pigeon's as dead as a dodo.
10. This movie's aesthetics seem governed by its bottom line: The CG is on the rubbery side, and the backdrops are jarringly 2-D. But Valiant isn't so hard to look at -- it's hard to listen to.
What is the consensus?

Valiant has a good collection of voice talents, but the story is strictly by-the-numbers.
Write an ordered list of reviews about "prisoners 2013".

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

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

Jason Patric and Ray Liotta are electrifying in this gritty, if a little too familiar, cop drama.
Summarize the following movie reviews:

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

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

Write a one sentence summary of the reviews above.

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

A cheerfully energetic screwball comedy, Only Human milks laughs from its culture-clash premise.
Which movie is the following review about?

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

rush 2013
Write a one sentence review of the movie "le passe".

Beautifully written, sensitively directed, and powerfully acted, The Past serves as another compelling testament to Asghar Farhadi's gift for finely layered drama.
Which movie is the following review about?

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

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

Amiable and good-natured but also shallow and predictable, Short Circuit is hardly as deep or emotionally resonant as E.T. -- though Johnny Five makes for a charming robot protagonist.
The critic consesnsus is: Despite a strong performance by Queen Latifah, Beauty Shop is in need of some style pointers.. What reviews supported this critic consensus?

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

It's shorter and leaner than the previous sequel, but this Pirates runs aground on a disjointed plot and a non-stop barrage of noisy action sequences.
The critic consesnsus is: Keep the Lights On is a mysterious, sexy journey deep into the love affair of two men that always manages to stay true to life.. What reviews supported this critic consensus?

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

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

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

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

Charlize Theron gives a searing, deglamorized performance as real life serial killer Aileen Wuornos in Monster, an intense, disquieting portrait of a profoundly damaged soul.
Write an ordered list of reviews about "blindsight".

1. Walker's ending is fudged both in terms of the narrative and the issues, and she seems to come down, a little feebly, on the "heartwarming" side of things. But what an amazing, and bizarre, story.
2. Lucy Walker's documentary is genuinely stirring.
3. You wouldn't believe it as fiction but it really is fairly unadorned fact. It is easy to see awards beckoning, and deservedly so because Walker as a film-maker never puts herself in front of her extraordinary subjects.
4. An important, heart-soaring record of a group of incredibly brave people doing something almost everyone would tell them is impossible.
5. memorable portrait of some truly courageous individuals and previously unrevealed insights to Tibetan culture
6. Along with its strong emotional pull and engrossing personalities, Blindsight also features some breath taking images of the Himalayas, and some nerve wrecking scenes that would make those of us who are afraid of heights to start sweating bullets.
7. Lucy Walker's inspirational, award-winning documentary, which leaves condescension and treacle out in the cold, emerging as one of the year's most illuminating, heartbreaking, and life-affirming movies.
8. The ascent reveals a fascinating clash of values between the more gung-ho Americans (who are determined to reach the top) and the youngsters' remarkable teacher Sabriye Tenberken.
9. Lucy Walker's documentary Blindsight is breathtaking twice over. It leaves the audience gasping like a landed guppy at views of snow-coddled Himalayan peaks under ice-blue skies.
10. How they managed the trek defies belief, but in an art-form where superpowers have become passé, it's a stirring reminder of what human powers, against the odds, can achieve.
1. "Seymour: An Introduction" is a compendium of tutorial anecdotes and poetic aphorisms he's collected over the years. Hawke's approach is apostolic, as if he's recording for posterity the sublime wisdom of a philosophical master.
2. For his debut as a documentary director, Ethan Hawke picked retired concert pianist Seymour Bernstein as a subject. He was a good choice.
3. Ethan Hawke's remarkable documentary puts us in close proximity to 80-something classical pianist Seymour Bernstein, whose funny, touching and vital presence is something you don't want to miss.
4. Focusing on the quiet, assured Bernstein's unassuming but powerful presence, Hawke's film often plays like an attempt to share Bernstein's experience with the world.
5. Works both as a celebration of Bernstein, whose spirit is at once gentle and boldly generous, and as a way of exploring creativity and the meaning it can have in our lives.
6. The film claims to be an introduction, but it's really a long series of conclusions.
7. Seymour Bernstein's playing is technically marvelous, and in addition, his warm personality transfers to the music.
8. Ethan Hawke's concentration on Seymour Bernstein isn't a betrayal of his own ego massaging, but rather an attempt to have a genuine soul-bearing conversation.
9. A cogent and exquisite documentary about Seymour Bernstein, a classical pianist who has spent the last 30 years of his life passing on his wisdom and counsel to his students.
10. A predictably charming profile of little-known pianist Seymour Bernstein, but it really shines in its treatment of the musician's penchant for mysticism and in its expertly edited Schubert finale.

Write a one sentence summary of the reviews above.

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

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

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

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

No uses its history-driven storyline to offer a bit of smart, darkly funny perspective on modern democracy and human nature.
1. Dazzlingly high filmmaking.
2. Imaginative, energetic.
3. Aronofsky is so compelling, so visionary a filmmaker, he keeps us riveted to his film as tightly as Sara is to her TV set.
4. A fluent, intelligent piece of work whose sex and violence are anything but gratuitous.
5. Virtually the cinematic equivalent of a powerful drug rush and subsequent, crashing withdrawal.
6. Can a movie be banal and highly original at the same time? If so, that movie is Requiem for a Dream.
7. Dream proves a number of things: the audacity of director Darren Aronofsky's eye, the brilliance of Ellen Burstyn's acting and an apparent poverty of discernment or intelligence on the MPAA ratings board.
8. What lifts Requiem above similar movies done during the drug-happy 1970's such as Ivan Passer's Born to Win ... is the frequent but not excessive use of surreal effects.
9. Will put you through an emotional wringer even as you're wondering what the point is.
10. Prepared to be shocked.

Write a one sentence summary of the reviews above.

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

What was the overall consensus about the movie?

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

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

A gripping, handsomely shot World War II melodrama with thriller elements successfully mixed in.
The critic consesnsus is: A raw, provocative drama about star-crossed love and the lives of immigrants caught between the traditional and modern.. What reviews supported this critic consensus?

1. Isn't exactly a pleasant viewing experience, but it has a passion that's difficult to ignore.
2. The story is beautifully and tragically melancholic.
3. Where too many films depict redemption as a divine right, Head-On has the courage to track a process that generally makes for rough traveling.
4. Shot on location before a picture-postcard view of Istanbul, the musical numbers provide both ironic commentary and much-needed leavening for the story. I would recommend Head-On if only for them.
5. Probably the first reaction is to resist, but that would be a mistake. Head-On is one powerful film.
6. Not easy to watch, the characters are all strongly abrasive, and yet we are emotionally gripped.
7. No matter what is going on in the story, these star-crossed lovers are always fascinating to watch.
8. They might be marginal, they might misfits, but we actually care about those two crazy kids.
9. Raw, impassioned and provocative.
10. Head-On is not for the faint of heart, with its depressive magnetism to bloody violence...[a] twisted, rough-hewn mad-love story.
Here are some reviews for a movie: 1. Schindler's List is a film whose meanings are to be found less in its uplifting outline than in its harrowing flow of images -- images of fear, hope, horror, compassion, degradation, chaos, and death.
2. In a film that is mostly black and white, small touches of color -- a candle flame; a child's coat, bright red -- bring the enormity of the tragedy into excruciating focus.
3. Accurate, heartbreaking masterpiece about the Holocaust.
4. Schindler's List, because it is so finely crafted and authentic, truly allows one to experience the devastating, calculated breakdown of a Polish Jew in 1939 through the end of the war.
5. Accessible ... .
6. This is the film to win over Spielberg skeptics.
7. a beautiful masterpiece... even though it's the hardest movie ever to watch
8. See website for more details.
9. This is a beautifully crafted, hopeful movie.
10. A heart-rending and redemptive Holocaust story, this Oscar-grabbing epic added to Spielberg's directorial credibility, showing he could handle controversial, sophisticated stories with real sensitivity.

What was the overall consensus about the movie?

Schindler's List blends the abject horror of the Holocaust with Steven Spielberg's signature tender humanism to create the director's dramatic masterpiece.
Write a one sentence review of the movie "outside providence".

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

What was the overall consensus about the movie?

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

What is a brief summary of the following reviews?

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

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

A sloppy, poorly directed action-comedy, All About the Benjamins is too derivative and gratuitously violent.
Write an ordered list of reviews about "patton".

1. An absorbing, polished character study powered by an epic performance.
2. War is hell, and Patton is one hell of a war picture, perhaps one of the most remarkable of its type ever made.
3. It's Scott's virtuoso performance that carries the film.
4. Superb telling of WWII General George Patton, brilliantly played by George C. Scott.
5. George C. Scott is terrific as General George S. Patton in this blend of intersting biopic and bland war film.
6. Nixon's favorite movie, which proves he was blind to ambiguity as well as a few other things.
7. Scott appears not to act, but to fully inhabit his role, from his profanity spewing down to the swagger of his walk.
8. Scott is simply awesome as the one-of-a-kind General George Patton.
9. The film lays bare the roots of Patton's lust for power in his willingess to sacrifice everything to his vaunting ego, a trait which is mirrored in George C Scott's superb performance.
10. As written by Coppola and directed by Shaffner, Patton bears an ambiguous message, attempting to please right-wing and left-wing viewers, though George C. Scott's powerful performance rises above the film's politics.
1. This is ( ... ) for cinephiles. You are expected to love it, but it sometimes left me scratching my head.
2. For me, it is a masterpiece, a visually stunning explosion of pure cinema, emotionally charged with a penetrating psychological punch. If you are bored by this film, to paraphrase the great Samuel Johnson, then you are bored with life.
3. A dense, baffling, thoroughly original epic that seems to divide viewers on the simple question of what it's supposed to be about.
4. The Master is not short but, once you fill in the blanks, you find yourself constructing a meta-film that, if realised, would play for many, many more hours.
5. Feral, hunched, his face like a clenched fist, Phoenix's Freddie is inarticulate and blocked where Hoffman's Dodd is extravagant, loquacious and smooth, although Dodd's sudden eruptions of anger suggests a possible kinship between them beneath the skin.
6. A bit of a sprawling, repetitive mess, a film that hints at greatness to be sure, but fails to come together in any coherent way ...
7. Insightful and explosive examination of humanity
8. The Master is drags you through the dark flux of a destructive man's clash with a man hell bent on manipulating his universe. It's powerful cinema in every regard.
9. There are gaping chasms in the story and side stories that go nowhere. Yet the power of [Philip Seymour] Hoffman's performance is so hypnotic you forgive the film's faults just to revel in his all-consuming portrayal of a man possessed by his own beliefs.
10. The film draws much strength from the exceptional performances of both Phoenix and Hoffman and the riveting interplay between their characters.

What is a brief summary of the following reviews?

Smart and solidly engrossing, The Master extends Paul Thomas Anderson's winning streak of challenging films for serious audiences.
Write an ordered list of reviews about "what we do in the shadows".

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

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

Write a one sentence summary of the reviews above.

A fun movie...if you can accept the excessive gore and wooden acting.
Summarize the following movie reviews:

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

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

Educational, but as entertainment, it'll have viewers asking, 'What the bleep?'
Summarize the following movie reviews:

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

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

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

Fay Grim is too concerned with its own farcical premise to present a coherent, involving story.
Write an ordered list of reviews about "white".

1. There's something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic. But there's also something damp and brown, like the sodden Polish countryside he pictures.
2. White is an excellent character study, and the presentation of a twisted love story is compelling.
3. This White is guaranteed not to fade.
4. A delightfully wry dark comedy.
5. White is the anti- comedy, in between the anti- tragedy and the anti- romance.
6. It's probably the friendliest, most enjoyable movie the Polish filmmaker has made.
7. In White, which details the agonies of obsessive love, [Kieslowski's] story is more realistic, and his style more prosaic, but the results are no less inscrutable -- and no less engaging.
8. A continuing testament to the Polish director's poetic mastery.
9. Kieslowski, who so keenly satirized the crippling excesses of communism in his earlier work, unflinchingly has a go at training-wheels capitalism, but not without affection for the thawing tundra of his beleaguered mother country.
10. Without a luminous presence like Juliette Binoche or Irene Jacob to hold the murky narrative together, it never soars.
1. ...I found the film to be charmingly fun.
2. a dull concoction of literary antiheroes that brings back unwelcome memories of torturous high-school English classes, where even bloodsuckers, shape shifters and buccaneers somehow managed to bore us to tears
3. Part of the pleasure of the film is supposed to be the anachronisms. But most of the fun is in the first part of the film and the anachronisms long outlast the fun.
4. Anemic and forgettable, but not entirely unlikable.
5. Watching LXG is a lot like looking at a set of bad one-hour photos. Blurry, streaked, dark, and incoherent.
6. Only halfway into the summer of 2003, and the most dreadful studio blockbuster of the year finally reaches the multiplexes.
7. Entering this summer's league of ridiculous movies is Stephen Norrington's adaptation of the comic books by Alan Moore and Kevin O'Neill.
8. have we descended so far in American filmmaking that we must now literally scrape the bottom of the superhero barrel
9. ... with few exceptions, the cast is excellent but the story is terrible... "League" still isn't as bad as Sean Connery's "The Avengers."
10. The more you think about the film, the more it falls to pieces. It's riddled with logistical and continuity errors that keep the audience continually uttering 'Huh?'
What is the consensus?

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