cindermond/bento huggingface dataset:
Summarize the following movie reviews:

1. It's hard to understand why anyone in his right mind would even think to make the attraction a movie. And it's harder still to believe that anyone in his right mind would want to see the it.
2. Although I didn't hate this one, it's not very good either. It can be safely recommended as a video/DVD babysitter.
3. The Disney picture is much more like an extended music video, with real people and people dressed in bear suits singing hurtin' songs. Truly.
4. After a while, the only way for a reasonably intelligent person to get through The Country Bears is to ponder how a whole segment of pop-music history has been allowed to get wet, fuzzy and sticky.
5. Harmless fun.
6. A mixture of old-time kitsch and bewildering MTV-influenced digressions.
7. The disarming cornball atmosphere has a way of infecting the entire crowd as the film rolls on.
8. The formidable technical skills in The Country Bears must not be allowed to distract from the film's terminal inanity.
9. It's just that it's so generally mediocre, bland and predictable that I found myself moaning every time I looked at my watch, which was often.
10. So awkward, so leaden, so virtually laugh-free that it's guaranteed to bring down the Happy Meals it's being marketed with.

Despite all the celebrities on hand, this spin-off from a theme park attraction still feels tired and hokey.
1. Tucker and Chan work the material as best they can (under the circumstances of no story) but it's a laborious feat.
2. Director Brett Ratner is never able to get the pacing right, with long slack sections slowing the momentum between funny moments.
3. Of course, there's Chan -- a thing of beauty and a joy forever. Especially when he's wiping up a massage parlor with the bad guys.
4. Rush Hour 2 is just par for the course in this year of familiarity and mediocrity.
5. There's nothing here that's new to rush to the theater for.
6. Rush Hour 2 isn't as good as the original, but it offers more than enough entertainment to warrant your time and money.
7. The sequel is a lock, a sure-fire crowd-pleaser.
8. Less a movie than it is a half-baked remake.
9. Everything about Rush Hour 2 is obligatory, from the action to the tiresome banter.
10. Succeeds as a slightly convoluted, paint-by-the-numbers buddy/action comedy with fast, funny banter and well-choreographed fight scenes.
Based on these individual reviews, what is the critic consensus?

Rush Hour 2 doesn't feel as fresh or funny as the first, and the stunts lack some of the intricacy normally seen in Chan's films.
Which movie is the following review about?

Modern Romeos and Juliets need to mix things up, and this one freshens the pot with a tone that sucks us in with raucous comedy and then gets deadly serious.

yossi and jagger
Write a one sentence review of the movie "frank 2014".

Funny, clever, and endearingly unusual, Frank transcends its quirky trappings with a heartfelt -- and surprisingly thought-provoking -- story.
Which movie is the following review about?

Arguably the greatest movie musical of all time.

singin in the rain
Write a one sentence review of the movie "extraordinary measures".

Despite a timely topic and a pair of heavyweight leads, Extraordinary Measures never feels like much more than a made-for-TV tearjerker.
1. With a lingering and often awkward style, Afterschool is ambitious but ultimately lacklustre.
2. Afterschool presents modern youth in a cold light. It's difficult to like but even harder to dismiss.
3. At heart it's another unpleasant existential crisis for another unpleasant schoolboy in another unpleasant American prep school.
4. It's an intriguing scenario, but what makes the film special (if at times slightly trying) is that it's all artfully shot in an apparently artless manner.
5. Afterschool, the almost frighteningly accomplished first feature made by Antonio Campos when he was 24, is high school as horror show.
6. An intelligent, often gripping, and intriguingly autobiographical drama of paranoia.
7. The passing of time and the evolution of technology may give it an expiration date, but more likely, Campos' film stands to be an essential document of what it was like to be a young person in the late '00s.
8. Deserves credit for managing to make prep school seem like the most hellish place on the planet, but is at some points hard to watch for all the wrong reasons.
9. Though thin on story, the film shows poise and vision, using bleak cinema-realite techniques with chilling effect. Campos promises to be heard from again.
10. Those with the patience to wait out Mr. Campos's overindulgences will definitely leave Afterschool unnerved, which is probably exactly what he had in mind.
Based on these individual reviews, what is the critic consensus?

Antonio Campos'Afterschool is an intelligent, ambitious debut that boasts strong performances and plenty of ideas.
Summarize the following movie reviews:

1. Pequeńa muestra del entretenimiento familiar que vale la pena disfrutar en medio de la magia que representa una sala de cine
2. Un tremendo gozo visual no sólo para los nińos, sino también para los adultos y para todos aquellos que sepan o gusten del trabajo CGI.
3. It's painful to admit it, but the tiny, perky FX mouse in jeans and sweater once again carries the summer's most enjoyable kids' movie.
4. Every bit as creepy as the original. But this time the creepiness of the mouse-adoption isn't even acknowledged.
5. An enjoyable film for the family, amusing and cute for both adults and kids.
6. ...it has little to offer mature audiences other than director Rob Minkoff's pleasantly storybookish mise en scene ...
7. The attention of the children is relatively held, even if their own unawareness prevents the bigger action from being much more than a bleak good versus bad.
8. Stuart's got a new girl, a new plane, and some old friends this time around.
9. ...a silly but amusing package of innocence, fantasy, adventure and color...
10. With all the incessant action, SL2 feels like it's trying to be bigger than it is.

Stuart Little 2 is a sweet, visually impressive sequel that provides wholesome entertainment for kids.
The critic consesnsus is: Nicole Holofcener's newest might seem slight in places, but its rendering of complex characters in a conflicted economic landscape is varied, natural, and touching all the same.. What reviews supported this critic consensus?

1. Nobody loves messy, human imperfections quite like writer-director Nicole Holofcener.
2. The characters and their varying viewpoints on the haves and have-nots are entertaining and thought-provoking.
3. Nicole Holofcener is frequently lauded for writing vivid female characters, but such praise doesn't really do justice to her full game.
4. Touching, intelligent and full of charm and wit.
5. [The script is] sharp and witty, but never forced, and features some of the best pure dialogue you'll hear this year.
6. A tremendous leap forward for filmmaker Nicole Holofcener...
7. There are laughs and moments of pain and many instances of embarrassing (and deeply human) behavior throughout, but there's also delicacy and grace...
8. A funny and pointed take of class anxieties from the Woody Allen school
9. Please Give is an almost perfectly rendered slice of life, buoyant with wonderful performances.
10. While the characters contend with their precarious self-images, we can't help but reflect on ourselves as well. To borrow a cautionary phrase about that mirror: 'Objects may appear closer than they are.'
Write an ordered list of reviews about "soloist".

1. In the hands of a director more suited to the material The Soloist might have been a deeply moving experience. Here, we know something important is being played out before us, and there are times when it hits home with force. But in their exercise of dram
2. ...tour-de-force performances from Foxx and Downey, but they cannot make up for a story that it is largely commonplace.
3. While I admire filmmakers who navigate material like this without sentimentality, this film stands back just a bit too much and leaves us feeling like distant observers.
4. Inspired by the touching book -- by Los Angeles Times columnist Steve Lopez -- Downey, Foxx and Wright make appealing, if just short of beautiful, music.
5. Fine as a series of columns in the Los Angeles Times but a misfit as a movie.
6. [This] bromantic drama...becomes as frustratedly impotent as Lopez feels, and as chokingly symbolic as Ayers looks with an Uncle Sam top hat on his head and an American flag in his shopping cart. [Blu-ray]
7. This film isn't as much about homelessness as about helplessness - and how some people are able not necessarily to overcome it, but to manage it. And how people like Steve Lopez, unintentionally help themselves when they try to help others. That's a great
8. Robert Downey Jr. and Jamie Foxx are highly convincing. Problem is, the film lets them down. It is not as powerful or moving as it could -- and should -- have been.
9. Get me rewrite
10. As a film, even in the hands of Atonement director Joe Wright and with talents such as the amazing Downey Jnr, Foxx and Keener, our emotional experience is strangely muted
1. While Smith's self-acknowledged weakness with action sequences is still evident, his gift for profanity-laden comedy more than makes up for it.
2. Smith needs to stop putting his creative energy into funny tweets and go back to writing scripts with heart and humor and memorable characters.
3. Kevin Smith may have needed a big Hollywood comedy right now, for a lot of reasons. What his old fans still need, though -- and in a hurry -- is a real Kevin Smith movie.
4. Unquestionably Kevin Smith's weakest movie to date...
5. Cop Out is foul-mouthed but not funny, bullet-riddled but not exciting, crammed with contrivances that go nowhere. And, perhaps worst of all, it musters up no chemistry between its buddy-cop leads.
6. It's about as much fun as flying coach, and -- if you're seated next to Smith, anyway -- a lot less interesting.
7. Cop Out is a silly waste of time. In other words, it's just what we need right now.
8. Like most Kevin Smith movies, there are pacing problems that could be fixed by carving out about 15 minutes. But there's also fun to be had.
9. It's the first gross-out comedy to come along since The Hangover that is actually a comedy and not just gross, although make no mistake, gross it is -- this is a Kevin Smith film after all -- so don't say you weren't warned.
10. A pointless homage to the cheesy buddy-cop action comedies of the 1980s, employing all the familiar tropes but failing to do anything with them.
Based on these individual reviews, what is the critic consensus?

Cop Out is a cliched buddy action/comedy that suffers from stale gags and slack pacing.
Here are some reviews for a movie: 1. Ferrell polishes his screen image as an oversized, oversensitive man-boy out of place in the adult world, and Duvall does a low-comedy, geriatric variation of his Great Santini character.
2. The problem is that in turning Phil into a win-at-all-costs coach, they rob the movie of much of its humor.
3. Silly, mindless and derivative, but Duvall brings some bite to the proceedings and Ferrell is dependably amusing.
4. Stop me if you've heard this before.
5. Even a soccer-savvy audience has better things to do -- like instilling unsportsmanlike behavior in their kids or sabotaging rival teams.
6. Both Duvall and Mike Ditka, who plays himself and helps coach Phil's team, spend too much of the movie on the bench, and while they're there, the jokes run thin.
7. Tired rehash of every bad kiddie-sports movie ever made.
8. Presents an almost human side of Will Ferrell. And you know what? He's funnier than ever playing a regular guy. Or, at least, trying to.
9. Most of the time, [the kids] go along. Most of the time we do, too.
10. It's not pleasant watching Ferrell try so hard for the kind of laughs that have come so easily to him in the past.

What was the overall consensus about the movie?

The script is mediocre and fails to give Ferrell a proper comedic showcase.
1. Potter stumbles at the finish line with tepid Hallows.
2. Although it feels far too long, Yates and Kloves thankfully mix the dark drama with lighter comedy, allowing the characters to grow organically
3. Harry Potter and the Deathly Hallows: Part I is the first entry of the franchise to really capture the essence of J.K. Rowling's masterworks.
4. Probablemente la mejor de la serie desde El Prisionero de Azkaban (2004), HP7 es una película de clima denso, oscuro y ominoso, excelentemente filmada.
5. The saga of Harry Potter definitely heats up before it winds down.
6. The magic is lost on the very young because of the films' even darker tone.
7. Noted critics have used the words 'unintelligible' and 'impenetrable' to describe the script. Here's a couple more: Boring and meandering.
8. The domineering final stretch of a story that has become as much popcorn distraction as old, reliable friend is shaping up to be part family reunion, part merciless slugfest.
9. No more professors, no more books; no more Potter's defiant looks.
10. Fortunately, the good outweighs the mediocre, so in the end this is one of the better installments in the series.

Write a one sentence summary of the reviews above.

It can't help but feel like the prelude it is, but Deathly Hallows: Part I is a beautifully filmed, emotionally satisfying penultimate installment for the Harry Potter series.
Write a one sentence review of the movie "i am number four".

It's positioned as the start of a franchise, but I Am Number Four's familiar plot and unconvincing performances add up to one noisy, derivative, and ultimately forgettable sci-fi thriller.
1. It's questionable who suffers more in this torture porn sequel - the victims or the audience. But glib lines aside, there is no point in continuing the franchise unless the filmmakers can up the ante in the gruesome/anguish/torture stakes
2. Saw V is dead on the table.
3. It doesn't just insult your intelligence; It assumes you have none.
4. This is unmistakably one of the worst horror films of the year. It's the last dying gasp of a series that was already past its expiration date.
5. Unfortunately, both Mandylor and Scott Patterson, who returns as fellow Saw IV survivor Agent Strahm, are uninteresting stiffs
6. The torture devices, once so fiendishly adapted to each offender, have become generic excuses to spatter gore. The script is insultingly lazy, and inept direction from newcomer David Hackl hardly helps.
7. The weakest installment so far.
8. There are only so many alternate flashbacks and massive explanations that a horror freak can take ... but I think the series is still amusing enough to warrant 90 minutes a year.
9. Saw V utterly mimics the original film's formula -- that awful basement, those cops chasing clues in what we assume to be the same time-frame, those awful devices of death.
10. Surprisingly, the FIFTH installment of the series has a nice flow to it and is still able to dish out newly designed horrific torture scenes.
What is the consensus?

If its plot were as interesting as its torture devices, or its violence less painful than its performances, perhaps Saw V might not feel like it was running on fumes.
The critic consesnsus is: Among one of, if not the best rock movie ever made, The Last Waltz is a revealing, electrifying view of the classic band at their height.. What reviews supported this critic consensus?

1. For all the superstars who appear on stage in this landmark rock-umentary, it is the offstage interviews that really star. The camera is a fly on the wall.... Each time we return to the stage after hearing what The Band members have to say, Scorsese wants t
2. A brilliant DVD does justice to the greatest rock-and-roll film of all time.
3. The greatest rock concert movie ever made -- and maybe the best rock movie, period.
4. Scorsese actually scripted and storyboarded the film... Remarkably, the performances show no signs of being reined in or rehearsed. In fact, as Scorsese's cameras swirl around the musicians, all we see is joy and high spirits.
5. The Last Waltz is our best insight to a moment when the giants of the previous decade raged against time, in the shadow of an age that changed them all inalterably.
6. Martin Scorsese's giddiest, most euphoric film.
7. This classic is one of the most well realized and musically satisfying rock movies ever made.
8. ...Exposes the spuriousness of Cameron Crowe's Almost Famous once and for all.
9. The result is one of the best concert films in rock music history.
10. ...no mere loud rock concert. It's a work of art. ...a celebration rather than a farewell, and Scorsese's direction always puts the music first.
Write an ordered list of reviews about "les amours imaginaires".

1. Every frame is a joy to look at, and the three leads very appealing.
2. Hipster's delight.
3. There is something rather flimsy about Heartbeats. That said, it certainly shows that Dolan has quite a career ahead of him.
4. Lushly, not to say swishly made, the whole thing is really just a pseudo-poetic trifle.
5. A subtle and painfully amusing battle of wills.
6. It's likeable enough, though there's far too much slow motion.
7. Who knew being young, beautiful and hip could be so tedious?
8. In Dolan, the hipster crowd might well have found their latest poster boy.
9. May be the most raw and visceral cinematic portrayal of infatuation I've ever seen, with nearly every shot conveying aching, unrequited desire.
10. The film is a dream bubble, fragile and precious, that lingers over your head and heart, until bursting with the final scenes.
1. Kurt Russell creates the most unforgettable role of his career: the criminal/hero Snake Plissken.
2. [Russell] channels Eastwood with a low, gruff voice and snide offhand remarks ... Snake Plissken is the kind of hero you can get behind
3. Reagen-era horseshit.
4. Boasting one of the most iconic characters ever in Plissken, and an effective sci-fi set-up, this is entertainment of the highest order.
5. I remember it being a lot better than it actually is. So if you have fond memories of a long-ago viewing of EFNY, I'd suggest not ruining them by revisiting the film again.
6. Gloriously cheesy post-apocalyptic fun with Kurt Russell at his grizzled best.
7. Cult classic that earns its status.
8. When the final credits roll, you can be forgiven a vague sense of dissatisfaction, because the creativity that went into formulating the premise was never extended to the script writing stage.
9. It's a rare film that has so many ideas and yet fails so consistently to make use of them.
10. This almost forgotten film reveals a near-visionary workmanship, a low-budget film heavy on atmosphere and playful of character.

What is a brief summary of the following reviews?

Featuring an atmospherically grimy futuristic metropolis, Escape from New York is a strange, entertaining jumble of thrilling action and oddball weirdness.
Write a one sentence review of the movie "1100197-under suspicion".

Though Hackman and Freeman turn in solid performances, Under Suspicion moves at a plodding rate and has a disappointing ending.
The critic consesnsus is: Angels and Demons is a fast-paced thrill ride, and an improvement on the last Dan Brown adaptation, but the storyline too often wavers between implausible and ridiculous, and does not translate effectively to the big screen.. What reviews supported this critic consensus?

1. Languid, over-bloated, preachy and too reliant on coincidence. Sometimes comes off as a pushy lecture produced and directed by Kirk Cameron.
2. Once again the heavy exposition translates unevenly to the screen as the actors chew through paragraphs of detailed information while careening through the streets of Rome.
3. This diligent yet dull religious caper only adds to the long list of Tom Hanks throwaway features, movies best enjoyed on airplanes.
4. I get that saving the world from disaster is important business. But is it too much to ask for it to be fun for the audience?
5. It's too lurid, too long. Too much is telegraphed.
6. Though complete redemption of Brown's fiction may not be possible, Howard's new film at least represents an upgrade from a mortal to a venal movie sin.
7. The result is dizzying enough to make you think you're entertained, although the moment you stop to think about Angels & Demons for even a second, the movie becomes ridiculous and preposterous enough to be laughed off the screen.
8. Howard simply isn't as good a filmmaker as Brown is a blissfully terrible writer.
9. The plotting here is so convoluted and so far-fetched that it makes the conspiracy elements in the National Treasure movies look plausible by comparison.
10. Here we go again...
Which movie is the following review about?

While the extraordinarily talented Polish-born director rarely falters in translating the source's theatrical strengths, his Venus in Fur feels oddly impersonal, lacking the trademark touch of Polanski perversity.

venus in fur
1. A stylish, fast-paced let's-get-physical movie
2. I don't know whether to love it or hate it, procedure for anything scripted by Joe Eszterhas.
3. One of the shallowest things you ever will see.
4. Well that was a stunning portrayal of the human condition.
5. Silly but energetic.
6. Virtually plotless, exceedingly thin on characterization and sociologically laughable, pic at least lives up to its title by offering an anthology of extraordinarily flashy dance numbers.
7. Nothing but glossy fluff.
8. A simplistic fairy tale, directed by Lyne in a trashy, superficially glitzy style, with pretense to realism in its on-location shooting and a woman who works as a welder, and the kind of postmodernism that's mostly evident in the heroine's name, Alex.
9. There's something real in here, and it could have made it to the screen, but the people involved were too shortsighted to see it through.
10. Depressing to think that this was a huge hit on the back of the Irene Cara hit single, since there's absolutely nothing to it.

What is a brief summary of the following reviews?

All style and very little substance, Flashdance boasts eye-catching dance sequences -- and benefits from an appealing performance from Jennifer Beals -- but its narrative is flat-footed.
1. Clouds of Sils Maria invites those willing to wander through the minutiae of the obsessive celebrity artist, and that may well be a barrier to entry for those who might land outside that classification.
2. In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
3. Playful and provocative, it's a dazzler.
4. Astounding performances by Binoche and Stewart, in a film that keeps the viewer constantly off-balance.
5. Stewart's blazing, blunt, pitch-perfect performance in this film serves as a reminder she's actually one of the best actresses of her generation.
6. A shining salute to actresses.
7. "Clouds of Sils Maria" is such a gorgeous movie --- I could sit through it again and again.
8. A beautifully filmed, marvelously acted and totally dialogue-driven movie --- propelled by superlative performances from its three female stars, it is rich with intense characterizations that most movies don't touch.
9. "Clouds of Sils Maria" is like "All About Eve," only with Kristen Stewart and Chloe Grace Moretz as dual-threat schemers on poor Juliette Binoche.
10. Thoughful film about aging actress has swearing, racy parts.
Based on these individual reviews, what is the critic consensus?

Bolstered by a trio of powerful performances from its talented leads, Clouds of Sils Maria is an absorbing, richly detailed drama with impressive depth and intelligence.
1. The House of the Devil is really a romance: a love letter to the kind of gal we thought had given up the ghost.
2. West's assured way with widescreen framing, long takes and silences followed by sharp if explainable noise are almost cruelly funny in their heart-stopping pleasures.
3. More concerned with stretching nail-biting suspense to the breaking point than finding new ways of making heads explode.
4. Although the payoff is creepy, it takes a little too long to arrive -- and when it does, it's about as worn-out as the movie's title.
5. Part of the film's off-kilter surreality comes from its retro look, tone, cinematography, and even music.
6. The House of the Devil is not only set in the early '80s, but director Ti West chose to shoot and structure the film in a way so as to make it feel like it was made in the early '80s. In a way, this throwback style is reminiscent of what Quentin Ta
7. The House of the Devil could have certainly turned out stronger with a shorter buildup and a more drawn out climax, but who am I to argue? I haven't been this scared watching a horror film in years.
8. Those of us who remember that strange and marvelous era when the grindhouse gave way to VHS pajama parties are apt to see a kindred spirit at work here.
9. As much as the slow pacing, the out-of-time quality creates a sense of dislocation, that makes what's coming for her even more unpleasant.
10. Impressively directed with impeccable production design, this is a note-perfect pastiche of a 1980s horror film that's both suspenseful and scary without resorting to cheap tricks.

Write a one sentence summary of the reviews above.

Though its underlying themes are familiar, House of the Devil effectively sheds the loud and gory cliches of contemporary horror to deliver a tense, slowly building throwback to the fright flicks of decades past.
1. Not only does Winterbottom succeed in capturing the novel's whimsical tone, he effortlessly weaves in a contemporary story, making both equally absurd yet sharp.
2. A film as inspired as its source.
3. For a movie about movies, it's surprisingly humanistic, cheerful and true to life.
4. ...I don't think there will be a funnier, smarter and wiser comedy released this year.
5. Even if you never get up to speed on half of what this movie tosses about, the half you do get should keep you laughing all the way to the library.
6. "Tristram Shandy: A **** and Bull Story" is an amusing toss off that is full of tongue-in-cheek British humor for the film buffs.
7. ...[very funny, and] on occasion, mysteriously, genuinely moving.
8. It's pretty funny. You don't actually watch it so much as indulge it and admire its cleverness.
9. It wonderfully evokes the life on a movie set, which for a few weeks or months creates its own closed society.
10. What a treat! ... By the end, you have so grown to love the characters that you're quite sorry to have to bid them adieu.

What is a brief summary of the following reviews?

Though Laurence Sterne's novel was considered more or less impossible to successfully adapt to film, director Michael Winterbottom has done it in Tristram Shandy: A Cock and Bull Story, by making movie about the making of the movie. Stars Steve Coogan and Rob Brydon add madcap, knowing performances to the mix, and the result is a fun, postmodern romp, before there was any modern romp to post.
Which movie is the following review about?

What becomes apparent is how well the story stands up, and how it still wreaks havoc with our moral compasses.

let me in
Summarize the following movie reviews:

1. "Force Majeure" is a blistering, ultimately empathetic tour de force.
2. Everyone should have just gotten over themselves and moved on to enjoy the week on the slopes without so much drama. But that wouldn't have been very Swedish.
3. Emotionally eviscerating, it explores gender stereotypes and assumptions.
4. Gruesomely funny.
5. Excruciating and bleakly amusing ...
6. A sharp, honest critique of what constitutes "manhood," revealing how fragile a concept it can be. An engrossing (if occasionally slow-moving) treatise.
7. Östlund's movie is chillingly choreographed and sharply shot and edited, but despite the chilly setting and icy veneers, it has a heart that burns wickedly.
8. Östlund has an exquisite eye for the intimate, nonverbal communication between couples through their posture, gestures, their eyes.
9. Writer/director Ruben Östlund delivers utterly on an ingeniously simple premise, one that is all the more agonizing and hilarious for its elegance.
10. The film gets its biggest laughs -- and there truly are some grandly bleak belly-shakers here -- by upsetting the apple cart on traditional gender roles.

Gleefully uncomfortable, Force Majeure is a relationship drama that's hard to watch -- and just as difficult to ignore.
Summarize the following movie reviews:

1. The writing, direction, music, and acting are all fantastic, but the film ends up being a little long and centers around a main character that's a little hard to embrace.
2. A Technicolor'd bird, flashed at the ridiculous capriciousness of life and Sartre's other people.
3. Depressingly predictable
4. Jordan and McCabe's real triumph here, however, is the tenderness with which they imbues 'Kitten,' and the astonishing grace with which the extraordinary Murphy pulls it off.
5. As meals go, this Breakfast is filling. In every way, Jordan's return to action is a triumph.
6. The twittering main character quickly wears out his welcome.
7. In [Jordan's] new film, Breakfast on Pluto, he's trying for a much more elaborate version of [The Crying Game].
8. The cast, camerawork and soundtrack are outta this world, but Pluto's orbit is too erratic to make this offbeat odyssey worth the journey.
9. Beneath the film's monotony, one senses a whiff of cop-out, of playing it safe: Patrick, for all his tender yearnings, shows no lust, no messy ego. He's a saddened saint in pouffy shirts, and Jordan turns his crying game into one big, long whine.
10. The movie's drastic shifts in tone sabotage any attempt at sustained emotional engagement.

Well-acted if monotonous drama about a transvestite prostitute in London during the 1970s.
The critic consesnsus is: In Babel, there are no villains, only victims of fate and circumstance. Director Alejandro Gonzalez Iыarritu weaves four of their woeful stories into this mature and multidimensional film.. What reviews supported this critic consensus?

1. Until [Babel] hits overload and short-circuits, it's often brilliantly cinematic.
2. Iырrritu and Arriaga continue their three-pronged approach with this powerfully moving drama.
3. The acting is terrific, especially Barraza, who manages to carry the entire segment by herself. The Moroccan kids are really good too, It's a bit long, and in the end doesn't really work all that well.
4. Babel suggests that violence forges its own kind of language, a means to forge closeness across distances of experience, location, and time.
5. Provocative elements notwithstanding, there's less than meets the eye to Alejandro Gonzalez Inarritu and Guillermo Arriaga's variations on the theme of miscommunication and devestatingly careless acts.
6. The ending is cowardly, mawkishly idealistic and, worst of all, panders to the upbeat-ending demands of Hollywood (Babel is the largest financed Iырrritu film).
7. [Many] will probably find something profound in this beautiful-looking mishmash, but the profundity exists only in the intent, and not in the execution.
8. For all its apparent scope, the film's in-your-face fatalism ultimately feels forced. The cumulative effect is more grueling than cathartic, even if it may also be good for the soul.
9. The biblical themes are reflected in the film's multilingual dialogue, broad geographic scope and, you could add, its failed ambitions.
10. ...A richly nuanced, at times shattering film that brings Inarritu's Death Trilogy to a stunning close.
Here are some reviews for a movie: 1. Jackson has the advantage of essentially playing himself, but he is consistently unable to rise to the challenge.
2. The movie debut of Curtis Jackson, better known... as 50 Cent, has everything going for it except an original script and a charismatic star.
3. Rent director John Singleton's Boyz n the Hood and director Mario Van Peebles' New Jack City instead. Both films address similar themes in a manner far more efficient and entertaining.
4. Sheridan comes up with more than his share of superbly directed scenes, but the whole thing is a mixed bag.
5. Surrounded by strong talent and the skillful director, 50 Cent shows a quiet charisma. He doesn't embarrass himself.
6. The honesty and grit of this film make it worth the watch.
7. Successful rappers usually make poor actors.
8. It exists only to support the already over-marketed and calculated "legend" that he was indeed shot nine times.
9. Total propaganda... It's the male equivalent of the hooker with the heart of gold.
10. 50 Cent has some good moments, but other times he seems like little more than a blank slate.

What was the overall consensus about the movie?

While it may be based upon 50 Cent's own life experiences, Get Rich Or Die Tryin' is too similar to many other rags-to-riches stories to resonate.
1. Part homage, part spoof, the deft balancing act is a clever, engaging adaption.
2. The Brady Bunch Movie is never more than lightly amusing, but then neither was the TV show.
3. John Waterish amalgamation that both pricks and honors the ideal American family
4. Comes off smart by being so silly.
5. Among the most deeply cynical movies ever made.
6. The Brady Bunch Movie is just another weak attempt to hit our nostalgia buttons.
7. The sitcom elements are strung together rather than interwoven; there's no sense of movement or development in the film.
8. There are a surprizing number of good laughs, but in the end it's an NBC movie of the week filmed in 35mm.
9. The film establishes a bland, reassuring, comforting Brady reality - a certain muted tone that works just fine but needs, I think, a bleaker contrast from outside to fully exploit the humor.
10. Grueling sendup of the 70's comedy that goes on way too long.
What is the consensus?

Though lightweight and silly, The Brady Bunch Movie still charms as homage to the 70s sitcom.
1. ... a tender and charming account of an angst-ridden teenage loner who finds inspiration in the most unlikely places during an otherwise disastrous vacation.
2. If 'Meatballs' were relocated from a summer camp to a water park and reworked into a semi-'serious' film, with half its running time devoted to Chris Makepeace's poignant back story and dysfunctional home life, it would be something like this.
3. While it's been a dismal summer for movies made FOR teenage boys (Pacific Rim, The Lone Ranger, Man of Steel), it's been an exemplary one for films made ABOUT teenage boys (The Kings of Summer, Mud and now The Way, Way Back).
4. Faxon and Rash are more than competent behind the camera and the film flows smoothly, easily mixing laughter with tears without being heavy handed. I wouldn't be surprised to see it on Oscar's short list next year.
5. The film never becomes corny. The characters' actions - both good and bad - seem wholly authentic, even if they aren't the first time you've seen this happen in a film.
6. You would have to go way, way back to find a film as touching, funny and smart as this one.
7. Personal reflections of adolescence automatically tug you into a story and it feels manipulative, but this film lovingly retraces pubescent steps with mirth.
8. Liam James is the introverted heart of the film, and is somewhat of a revelation. His perfect portrayal of a skittish boy who is forced to become assertive anchors the whole movie and makes it a coming-of-age story worth revisiting.
9. Sam Rockwell is a kick, but the rest of the film runs rather flat.
10. A sweet and sour summer song of a movie, it's one of this season's best reasons to go to the movies.
What is the consensus?

Despite its familiar themes, The Way Way Back makes use of its talented cast, finely tuned script, and an abundance of charm to deliver a funny and satisfying coming-of-age story.
1. Lawrence chooses to rely solely on his fourth-grade instincts to get him through the film, with no sidekick to dilute his overbearingly tacky style.
2. crap
3. ...is about as hilarious as skinny-dipping in an alligator-infested moat.
4. ...there's not a lot in it that will offend anyone...unless you count dull, boring, and unoriginal as offensive.
5. Lawrence relies on his usual act as the hip black guy surrounded by square white men.
6. Martin Lawrence amuses in raunchy comedy.
7. If Army of Darkness was remade by members of the KKK, the results would likely approximate Black Knight.
8. The first 23 minutes of Black Knight (yes, I timed it) are easily the most effective...
9. Lawrence's fans should love Black Knight, though that's hardly a glowing recommendation.
10. I wondered why a black man with an American accent, nearly shaved head and football jersey excited virtually no comment among folks of the Middle Ages.

What is a brief summary of the following reviews?

Black Knight feels like a lazily constructed movie, filled with lame gags and constant mugging from Lawrence.
1. Uses a single notorious incident to liven up an otherwise less-than-riveting story.
2. This stranger-than-fiction account is well worth the trip up the river.
3. Meanders, dawdles, doubles back on itself but finally gets us somewhere fascinating and worthwhile.
4. Once allowances are made, this particular journey of personal discovery becomes pretty amazing.
5. We get the sneaking suspicion before long that the Shapiros are little more than exploiters in the Jerry Springer mold.
6. As [Schneebaum] explains the male-male relationships and the absence of stigma or judgment, the film soars.
7. It's worth seeing simply to make the acquaintance of Tobias, a really extraordinary old guy.
8. Once the shock factor of [Tobias] having once eaten another human is over, the movie doesn't have much more to offer.
9. This thin documentary is so bent on rubbing our faces in Schneebaum's paradise lost ... that it's a fairly depressing experience.
10. Rather than observe events as they happen, the filmmakers force things, manipulating Schneebaum and the audience to serve their agenda.

What is a brief summary of the following reviews?

Keep the River on Your Right places the spotlight on a fascinating individual, Tobias Schneebaum.
Here are some reviews for a movie: 1. A brave and densely compelling film that tackles euthanasia better than Flint Sweatwood in Zillion Gallor Maybe. I promise no spoilers.
2. Director Alejandro Amenabar wisely presents the story simply, representing both opinions fairly.
3. Impressively made drama that is both moving and thought-provoking, thanks to a strong script and a powerful central performance by Javier Bardem.
4. Un film émouvant porteur d'un message important, celui du droit de disposer de sa vie comme on l'entend.
5. You can't watch the movie passively. Just try getting through it with a dry eye.
6. Alejandro Amenabar offers one of the most powerful and memorable films of the year.
7. Bardem's Ramón is such a vital life force, it's all the more bittersweet to watch him fight to leave a world that would be much emptier and sadder without him in it.
8. With the performance of Bardem at its centre, the film succeeds in making Sampedro's story enriching and not half as depressing as the premise might lead one to suspect.
9. For whatever reason, it's an injustice that Bardem was not nominated for best actor.
10. Mar Adentro, assim como a própria vida de Sampedro, funciona principalmente para nos forçar a uma análise interior que pode revelar-se impiedosa e surpreendente.

What was the overall consensus about the movie?

Held aloft by a transfixing performance from Javier Bardem as a terminally ill man who chooses to die, The Sea Inside transcends its melodramatic story with tenderness and grace.
1. Driven by imagery rather than dialogue, rising tension rather than action, The Return depends on the actress' ability to convey plot development through subtle changes in expression rather than the kick-boxing moves for which she's become known.
2. Time-killer chiller reps an undistinguished U.S. debut for U.K. helmer Asif Kapadia, though the undernourished script may be most at fault.
3. Even with a brief 85-minute running time, The Return feels padded, which is odd considering how little we're told about the characters or the central mystery.
4. This murky psychological horror effort is not likely to inspire a return.
5. A film so formless and pointless that you may find yourself wondering who the target audience was supposed to be.
6. An entirely internalized portrait of a character without a clear interior.
7. As a superb example of a filmmaker more than making the most of his material, it's a fascinating experience, even though that material is wanting.
8. "The Return" is a slow-going ghost story that takes a long time to say "Boo!"
9. As B-level suspensers go, though, The Return isn't actively awful -- just slow and cursed with a lead who acts with her T-shirt.
10. The Return universally fails to establish any sense of reality, which makes it hard to register when Joanna's world starts falling apart.

What is a brief summary of the following reviews?

Unoriginality may be an acceptable risk in the Horror genre, but boredom is never okay.
1. A sudden, extended sniper attack, coming midway through the movie, is the best sequence I've seen on film this year.
2. The movie pays off so well because it places you fully in the shoes of the men, from their fears and obsessions to their paranoia about virtually every Iraqi citizen they encounter.
3. An important, intense, nail-biting experience -- really quite unforgettable.
4. This is a harrowing picture, made all the more disturbing because it's based in a war that is being waged right now.
5. There is much that is fiercely modest about its ambitions. And, for a war film, it is often disconcertingly quiet.
6. One of the best-made films of 2009.
7. It is visceral filmmaking at its best.
8. The Hurt Locker succeeds where others haven't, putting you in the boots of highly trained Army personnel. And since they're experts at defusing bombs, it's understandable if you shake in them.
9. Locker is merciless in its wretched view of life during wartime. IEDs, suicide bombers, even old-school sniper fire -- all these things are around to remind soldiers that death is imminent at any waking minute.
10. The idea of watching people risking being blown to smithereens might not create a box office blockbuster. But this is certainly director Kathryn Bigelow's best film since Point Break in 1991.

Write a one sentence summary of the reviews above.

A well-acted, intensely shot, action filled war epic, Kathryn Bigelow's The Hurt Locker is thus far the best of the recent dramatizations of the Iraq War.
Which movie is the following review about?

Puts the viscera in visceral but a thought-provoking exploration of our increasingly disconnected society in drag as mindless action.

gamer
Which movie is the following review about?

Pleasantly undistinguished, this movie rests on a handful of crowd-pleasing plot points about true love, and on a few strong supporting turns: Oliver Platt, who plays an obese Genoan fop, has now saved two movies in as many months.

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1. If Ben Hecht or Preston Sturges ever wrote gags about Twitter or literary magazines or Brooklyn bistros, they would sound like this.
2. Gerwig may be the most overrated (or at least most overemployed) actor of her generation.
3. The film has nothing if not great vitality and an active creative spirit, but it has all been channeled here in a way that comes off as erratic and sometimes ill-judged.
4. As ever with Baumbach, this is rich and intellectually ambitious but it flounders as it descends into farce - just like Brooke, it's not quite sure where it wants to go.
5. One goes along with it grasping the theater's armchairs a la a rollercoaster car, emerging with the kind of whiplash that makes you get right back in line
6. Hey boyfriend/director has delivered Greta Gerwig a role tailor made for her, a vivid portrait of a New York "type" in the age of social media.
7. Mistress America is a success because it understands its characters, likes its characters but isn't afraid to show their flaws and hypocrisies...
8. Gerwig and Kirke's strong performances and onscreen chemistry, Baumbach's ability to capture the Big Apple's beauty, and the infectious '80s soundtrack will suck you in as well.
9. With Gerwig, you worry that she seems to be winging it -- until you realize that she also knows how to fly.
10. Not quite as good as you've heard, more neo-Woody Allen material from Baumbach and Gerwig, but often amusing.
Based on these individual reviews, what is the critic consensus?

Mistress America brings out the best in collaborators Noah Baumbach and Greta Gerwig, distilling its star's charm and director's dark wit into a ferociously funny co-written story.
1. The fact is Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess.
2. Strikes the right notes as a fast-paced comedy, a touching but not saccharine slice-of-life, and a valuable learning tool for children.
3. Simply put, it's terrific.
4. Persistence pays, so says this rocketeering children's fantasy. It's a claim this delightful computer-animated film also proves.
5. If you stick with it, it's an enjoyable film, a futuristic puzzle with an ending worth the trip for those who make it there.
6. This 3-D digital adventure cribs from several other films, but its pace, wittiness, and technical brilliance may help you forget all that.
7. Better than the 3-D movies at Disney World but nothing special on the big screen.
8. The Robinsons might not be a family you want to hang out with, but they sure were fun to meet in this imaginative and beautiful 3-D experience.
9. This would be as delightful and attractive a production without the gimcrackery.
10. A sharp-minded, plenty entertaining toon that will keep children of all ages wide-eyed and on their toes.
Based on these individual reviews, what is the critic consensus?

Meet the Robinsons is a visually impressive children's animated film marked by a story of considerable depth.
Here are some reviews for a movie: 1. An improbably entertaining, if overlong, adventure that brings new meaning to the term 'summer camp.'
2. Long title. Waaay too long a movie. Other than that, it's flawless entertainment.
3. From stem to stern this rousing adventure shines ship-shape and Bristol fashion.
4. The film is never quite funny enough to make us forget that dramatically it's pretty slim stuff.
5. Depp hijacks -- no, commandeers -- the staginess and special effects, turning Pirates of the Caribbean: The Curse of the Black Pearl into a giddy adventure.
6. The summer's oddest, most unexpected blockbuster has arrived.
7. A pretty fun ride all by itself.
8. While the plot and action are all deliberately familiar, director Gore Verbinski steers a continual course for sheer, mindless, rope-swinging, crow's-nest-hollering summer fun.
9. Pirates of the Caribbean tends to overstay its welcome.
10. Flawed though it may be, it's frequently an unaffected pleasure.

What was the overall consensus about the movie?

May leave you exhausted like the theme park ride that inspired it; however, you'll have a good time when it's over.
Write a one sentence review of the movie "jonestown the life and death of peoples temple".

Director Stanley Nelson avoids editorializing and sensationalizing in Jonestown, letting the CIA photos and film speak for themselves, and giving a voice to the surviving victims.
The critic consesnsus is: While the plot is overly cliched, the suberb acting by the stars (especially the tense interactions between Clint Eastwood and Tommy Lee Jones) and the spectacular special effects make this a movie worth seeing.. What reviews supported this critic consensus?

1. A nifty bit of digital wizardry.
2. An enjoyable, if not totally absorbing, summer action movie that provides a welcome vacation from the tyranny of youth.
3. It's entertaining and once the geezers actually get off the ground the visuals more than make up for the shortcomings.
4. Finally, a summer action film for the golden age.
5. Eastwood ... segues nicely from the jogging pace of the training sessions to the ramped-up, adrenaline-pumped thrill of the space adventure.
6. Space Cowboys is one of the more gracefully satisfying features of the summer.
7. Space Cowboys is a satisfying science-fiction yarn.
8. Its heroes may be old, but the film feels delightfully fresh.
9. Eastwood directs Space Cowboys with a refreshing, cheeky, old-school pace that is akin to watching John Wayne slowly swagger across a movie screen.
10. Eastwood highlights the personal relationships in a way that is gentle, funny and authentic.