cindermond/bento huggingface dataset:
Write an ordered list of reviews about "i still know what you did last summer".

1. Director Danny Cannon knows how to give a Hitchcockian air to an island-style Bates Motel.
2. This is a really stupid movie and that's really disappointing since I really did enjoy the first one.
3. It's not a bad film for what it is.
4. I was more afraid of what was in my popcorn's butter-flavoring than I was of what was up on the screen.
5. Some thrills and chills are provided, but as audiences realize they've lived this Summer before, early, strong b.o. returns are also likely to die.
6. The only thing terrifying about this clunker is the thought of having to sit through it.
7. There are many things wrong with this film, starting with title.
8. When I heard the sequel's title, I strongly considered resigning this post.
9. A better-than-average slasher movie is that it understands exactly the sorts of cheap thrills its audience is looking for and delivers them with a minimum of distraction and a maximum of energy.
10. It's frustrating, not to mention insulting.
Here are some reviews for a movie: 1. It would have worked better if it weren't so obvious and manipulative. About halfway through, it plays more like a diagram of lessons learned than a movie about real people dealing with complicated problems.
2. Un estupendo drama contemporáneo sobre algunos de los conflictos más básicos que acechan a hombres y mujeres de bien en cualquier rincón del mundo.
3. In addition to being safe and non-threatening, Bier's film finds time to throw in mentions of cancer and divorce, and images of poor children starving in Africa. It's pretty much a recipe for an Oscar.
4. The microcosm of the children's world is exceptionally well drawn.
5. There's little flash or surprise in Bier's latest well-shot film, but plenty of substance.
6. Although this being a film by Susanne Bier, there is unfortunately a good measure of unneeded melodrama stirred in to trivialize the very important thematic concerns.
7. Film defies conventional expectations about biblical notions of retribution, even as it initially prepares you to accept them. A truly complex work of art.
8. A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied
9. It's well made but too flawed to be a satisfying cinematic experience.
10. Essentially an essay about bullying ( ... ) and the abuse of power, it will probably be appreciated most by people who want to keep up with [Susanne] Bier's maturing catalogue.

What was the overall consensus about the movie?

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

This anthology contains brutal, powerful horror stories by three of Asia's top directors.
Write an ordered list of reviews about "1112954-rookie".

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

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

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

Write a one sentence summary of the reviews above.

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

What is a brief summary of the following reviews?

Warm, whimsical, and poignant, the immaculately framed and beautifully acted Moonrise Kingdom presents writer/director Wes Anderson at his idiosyncratic best.
Write a one sentence review of the movie "bowling for columbine".

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

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

What was the overall consensus about the movie?

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

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

Write a one sentence summary of the reviews above.

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

What was the overall consensus about the movie?

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

What is a brief summary of the following reviews?

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

Write a one sentence summary of the reviews above.

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

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

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

What is a brief summary of the following reviews?

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

For those who have seen One Flew Over the Cuckoo's Nest or Starman, K-Pax may not hold anything new. The movie works best as a showcase for Kevin Spacey and Jeff Bridges.
Here are some reviews for a movie: 1. This is a film of consequence, and it's good to be reminded of how much better life is for most people in eastern Europe than it was a quarter of a century ago.
2. Most compelling in Barbara, Christian Petzold's latest, is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
3. It's one terrific film, as smart, thoughtful and emotionally involving as just about anything that's out there.
4. An enthralling little gem.
5. A superbly crafted low-boil drama that gets its hooks into you the old-fashioned way, through character, and highlights the difficulties and cost of living by principles.
6. [R]esides somewhere in an unsatisfying borderland between drama and thriller, never quite catching fire as either...
7. That sense of nervous dislocation that the viewer feels in the first few scenes - Where am I? Who is this person? Is she friend or foe? - efficently evokes the muted terror that its characters feel.
8. This well acted political melodrama, set during the Cold War, is Germany's entry for the Best Foreign Language Oscar.
9. A meticulously crafted drama in which the depiction of character, place and circumstance evolves slowly and with intrigue, Barbara is gripping cinema
10. A crafty filmmaker, Petzold gives us information in increments. During the first half of his movie, which he co-wrote, we are all but left to our own devices; yet it is fascinating, and appropriate.

What was the overall consensus about the movie?

Smart, solidly grafted, and thoroughly gripping, Barbara offers a deliberately paced, subtly powerful character study.
Which movie is the following review about?

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

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

What was the overall consensus about the movie?

Sylvester Stallone knows how to stage action sequences, but the movie's uneven pacing and excessive violence (even for the franchise) is more nauseating than entertaining.
The critic consesnsus is: Critics say that the third Pokemon movie has a better plot than its two predecessors. This is not enough, however, to recommend it to those not already fans of the franchise.. What reviews supported this critic consensus?

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

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

1. It swears it's being clever yet refuses to trust the audience.
2. Asks us to believe the terrorists would, after slaughtering countless people, risk their entire plan--and their very lives--on...well, I won't say. But from my vantage point, it was ridiculous.
3. If you are looking for mindless action, it's not bad. But since this is trying to be something more than that, I can't quite recommend it.
4. The whodunit-with-terrorist-undertones doesn't test, shock or surprise the audience in any unique way.
5. For movies like Vantage Point, life is too short.
6. Although based around a familiar, Rashomon-style concept, Vantage Point ratchets up its intensity so effectively that the lack of originality hardly matters.
7. Is it too much to ask for procedural thrillers like Vantage Point to connect all their dots before the closing credits?
8. Vantage Point is a patented representative of this year's early mediocrity. Vantage Point is trailer trash.
9. The more they replay the story, the more you realize that there really wasn't all that much to see in the first place.
10. [Vantage Point is] a puzzle cut by a drunken, three-fingered jigsaw operator who lost a few pieces and chewed on a few others.
1. Both a soulful mood piece and beautiful exploration of cross-cultural communion.
2. The Israeli film that's become celebrated for what it lacks -- enough Hebrew to contend for the best foreign language Oscar -- can now be seen and appreciated for what it has in abundance: visual wit, verbal charm and a completely droll sense of humor.
3. The Band's Visit, the first feature by the Israeli writer and director Eran Kolirin, flirts recklessly with obviousness, cuteness too.
4. Kolirin doesn't go for belly laughs. He prefers subtle, wry humor, much in the fashion of Finland's Aki Kaurismaki.
5. A remote, Israeli desert town is the setting for this droll, endearing comedy about an accidental cultural exchange that very quietly says some very important things about contemporary Arab-Israeli relations.
6. With its attention to detail and careful, naturalistic performances, it's a small slice of life.
7. A deeply spiritual comedy about the bridge-making capacities of hospitality and the way music serves as universal language that draws people together.
8. Writer-director Eran Kolirin has a gentle touch, although the film is too self-consciously sentimental.
9. Fresh, funny and engaging, it's a shame that a technicality disqualified it from Oscar contention.
10. Eran Kolirin's uncommonly assured directorial debut hinges on its characters, and in Ronit Elkabetz as Dina, and Sasson Gabai as Tewfiq, he strikes cinematic gold.

What is a brief summary of the following reviews?

The Band's Visit is both a clever, subtle slice-of-life comedy, and poignant cross-cultural exploration.
Write an ordered list of reviews about "saving face".

1. A frothy delight, robust with strong and conflicted characters.
2. Saving Face is nonetheless a heartfelt and witty film that favorably compares to Ang Lee's The Wedding Banquet, even if Wu lacks Lee's subtlety and wraps everything up a little too neatly.
3. Less burdened by earnest intentions than other indie examinations of Asian-American women's experience, the film's appealing characters and amusing situations prevail over its general shortage of energy.
4. From generic comedy roots comes something likably cute.
5. ...a conventional but ambitious and tender vehicle about cultural traditions of passion crossing forbidden paths.
6. This film breaks the icy barriers of traditional repression, cold communication. Offers up a series of sometimes charming scenes, but seldom breaks deeper into the surface.
7. Saving Face's saving graces are its sense of humor and its strong cast.
8. The people in Saving Face make plenty of mistakes, but Wu's script views their mistakes with compassion.
9. A first film with a deft comedic touch and a trio of charming stars.
10. This culture-clash, generation-gap comic drama is clichéd and corny. But it's also charming.
1. This smart and stylish Lubitsch comedy was recently remade as You've Got Mail.
2. Esta charmosa comйdia romвntica traz um James Stewart mais irфnico do que costume, mas igualmente nobre - e sua interaзгo com Margaret Sullavan cria уtimos momentos de бcido romantismo.
3. This 1940 film is one of Ernst Lubitsch's finest and most enduring works, a romantic comedy of dazzling range.
4. One of the all-time great romantic films stars Jimmy Stewart and Margaret Sullavan as two slightly antagonistic clerks working in the same store who do not realize they have been corresponding with one another and are in love.
5. This charming and well-scripted comedy exploits the ingenious set-up with delightful results.
6. Although picture carries the indelible stamp of Ernst Lubitsch at his best in generating humor and human interest from what might appear to be unimportant situations, it carries further to impress via the outstanding characterizations by Margaret Sullavan
7. Who but Lubitsch could have pulled off such a winning romantic comedy that dares to include, but is not marred by, such tragic undercurrents adultery, attempted suicide?
8. ...a pretty kettle of bubbling brew it makes under Mr. Lubitsch's deft and tender management and with a genial company to play it gently, well this side of farce and well that side of utter seriousness.
9. This might be Lubitsch's gentlest work: sweetness mixed with a genuine sadness.
10. Thoroughly different from To Be or Not To Be but just as exhilarating, it's one of the few films truly justifying Lubitsch's reputation for a 'touch.'

Write a one sentence summary of the reviews above.

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

The onscreen battle between Jack Nicholson and Louise Fletcher serves as a personal microcosm of the culture wars of the 1970s -- and testament to the director's vision that the film retains its power more than three decades later.
Write an ordered list of reviews about "10009929-a christmas tale".

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

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

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

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

What was the overall consensus about the movie?

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

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

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

Write a one sentence summary of the reviews above.

Me You Them tells a warmly comical and touching story, and features a charismatically earthy performance by Casж.
The critic consesnsus is: Typically stunning visuals and sharp dialogue from the Coen Brothers, brought to life with strong performances from Goodman and Bridges.. What reviews supported this critic consensus?

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