cindermond/bento huggingface dataset:
Which movie is the following review about?

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

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

What is a brief summary of the following reviews?

It isn't necessarily an easy watch, but thanks to Netzer's interesting direction and a riveting performance from Gheorghiu, Child's Pose is rewarding.
The critic consesnsus is: In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances.. What reviews supported this critic consensus?

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

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

Write a one sentence summary of the reviews above.

With two obnoxious lead characters and an uneven screenplay, Uptown Girls fails to charm.
Write a one sentence review of the movie "wordplay".

You see them hunched over with their brows furrowed, folded newspaper in hand as they attempt to complete the crossword puzzle. This may even describe you. This ingeniously edited documentary introduces viewers to some of the more dedicated fans of this solitary pastime, none more well-known the puzzle editor for the New York Times, Will Shortz. This underground world provides a surprising amount of crowd-pleasing entertainment and suspense, especially at the annual crossword tournament. Didn't know there was one, did you?
Here are some reviews for a movie: 1. Alexandrowicz's vitriolic wit is reserved for the secret part of all of us that idealizes the rewards of the road.
2. The film whips-up a benign portrait of slavery instead of making a true-grit political statement on the nature of New World capitalism.
3. A smart and satisfying parable about immigrant exploitation that doesn't pander to mainstream liberal attitudes about victimization.
4. Much of the charm of James is attributable to Siyabonga Melongisi Shibe, the absorbing South African actor who portrays the enchantingly guileless religious pilgrim of the title.
5. It has a thought-provoking mix of skepticism, hopefulness, and respect for all but its most scurrilous characters.
6. A deceptively modest fable of innocence abroad that resonates with the situation within Israel and without.
7. It offers two atrocious ethnic stereotypes for the price of one.
8. A beguiling film, greatly aided by an exuberant soundtrack.
9. It's a sweet and effective present-day fable.
10. Searing little parable.

What was the overall consensus about the movie?

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

What is a brief summary of the following reviews?

Election successfully combines dark humor and intelligent writing in this very witty and enjoyable film.
Summarize the following movie reviews:

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

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

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

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

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

What is a brief summary of the following reviews?

The endearing Iron Giant tackles ambitious topics and complex human relationships with a steady hand and beautifully animated direction from Brad Bird.
Write an ordered list of reviews about "blue jasmine".

1. Cate Blanchett classes up a dated Woody Allen melodrama.
2. Allen is a famously hands-off director, and while this method succeeds on occasion, too many scenes in Blue Jasmine betray a directorial negligence.
3. Very Unhappy Movie
4. In "Jasmine," Allen has created a situation and characters that are both timely and timeless, rooted in classic circumstance but set in recognizably contemporary situations.
5. Guided by a powerhouse turn from Cate Blanchett, this grievously funny, shrewdly devastating character study is as focused and emotionally rewarding as anything Woody Allen has made in the twenty-first century.
6. Woody writes and directs, but does not appear in his own movie. Instead, he has imbued Blanchett's character, Jasmine, with all the neurotic, distraught and unstable tendencies that Allen usually reserves for himself.
7. "Blue Jasmine" is a real dramatic treat, one that is destined to become a classic.
8. My only question, come year's end, is: who will be the other four actresses to get Oscar nominations? [Cate] Blanchett's, I think, is assured.
9. Unsettling and insightful, it's Woody Allen's 48th film - and one of his best.
10. Blue Jasmine ranks with Vicky Cristina Barcelona and Midnight in Paris at the top of Woody Allen's recent movies.
Here are some reviews for a movie: 1. Makes for very entertaining viewing, though it hardly feels necessary.
2. The true story behind Dog Day Afternoon is fascinating fodder for a documentary, but The Dog squanders this by letting its sociopath subject run the show.
3. As a portrait of a life lived strangely-and if you asked its subject, perfectly, with no regrets-The Dog is charming.
4. For all its eye-opening material, The Dog still feels unfinished, but for students of New York scuzziness, it's an essential addition.
5. Directors Allison Berg and Frank Keraudren fill "The Dog" with terrific archival footage that captures the feel, look and sound of a bygone, character-filled era.
6. It's informed with a subtle but disquieting subtext that insists on the pitfalls of allowing ideology to steer you away from common sense.
7. What makes The Dog so compelling isn't Wojtowicz's cinematic imprint but the place in history that was very likely denied him by chance and his own irascibility.
8. Working as both an unofficial Dog Day sequel and unconventional overview of New York gay culture from the past 40 years, The Dog combines archival footage, still photographs, and testaments from many of those who knew Wojtowicz well.
9. [Wojtowicz] may be crazy and full of himself, but his magnetism is hypnotic, and it makes this modest documentary a delight from start to finish.
10. Vintage material and first-hand accounts add to engaging expansion on the true-crime tale.

What was the overall consensus about the movie?

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

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

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

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

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

1. Moore's performance is exquisitely nuanced - the only thing worth remembering about this otherwise tone-deaf weepie.
2. Still still hums with humanity in the person of Moore, whose towering performance shows a staggering technical proficiency while never losing a whit of emotional resonance.
3. This thoughtful movie ... raises an issue any of us might face.
4. Jullianne Moore is devastating without italicizing anything
5. When she wins the Academy Award, I'm just going to pretend it was for Todd Haynes' 1995 masterpiece, Safe, and leave it at that.
6. The focus on Alzheimer's might be off-putting, but don't let that stop you from seeing Julianne Moore in Still Alice.
7. As films about people with devastating diseases go, Still Alice is understated, thought-provoking, and written and directed with a steady hand.
8. A horror movie for gentlefolk: Its methodical terrors -- memory loss, disorientation -- seem all too likely, especially for mature moviegoers less worried about things that go bump in the night than the fall of night itself, so to speak.
9. I'm saying it could have been more worthwhile and aware than it is. As for the film, it has two strong performances and enough grace notes to make that a solid yes, you should see this.
10. A mind is a terrible thing to watch waste away and rarely has the horror of losing one's inner self to Alzheimer's been conveyed as precisely and powerfully as it is here.
1. An awkward mix of standard genres that doesn't give us what we desperately need in this increasingly desperate political season -- a black and snarling assault on our imbecile status quo.
2. Confusion and mixed messages work against a coherent viewpoint -- and laughs.
3. A wishy-washy thriller with political leanings that never quite fit.
4. Pic eventually overcomes an awkward start and turns into a satisfying candidate for the disposable movie dollar with a story that stays on your mind.
5. In short, it would have been great if it had stopped, oh, 12 minutes in.
6. There's nothing about Man of the Year that's quite as fantastic as its depiction of moribund Saturday Night Live as culturally and politically relevant.
7. As well as this may have worked as a comedy ... it tries too hard to be a thriller and a drama, which is where it falls flat on its face.
8. It's a difficult assignment to pull all the genre strings into a tight ball of serio-comedic yarn. My cat Hillary could have done a better job with less effort.
9. Robin Williams' character can't decide when to be goofy and when to play it straight, and neither can this uneven "what-if" political comedy from writer-director Barry Levinson.
10. Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed Wag the Dog.

Write a one sentence summary of the reviews above.

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

What was the overall consensus about the movie?

Director Werner Herzog has once again made a compelling tale of man versus nature, and Christian Bale completely immerses himself in the role of fighter pilot (and prisoner of war) Dieter Dengler.
Write an ordered list of reviews about "how to lose friends and alienate people".

1. "Megan Fox is mind-bogglingly beautiful. When she walks into a room, you almost have to look away," Simon Pegg said with a laugh in an interview with HollywoodChicago.com on his new film How to Lose Friends & Alienate People.
2. ...all bark and no bite, the behind the scenes machinations of a hugely influential magazine used as mere window dressing for an uninspired romantic comedy.
3. It's silly but mostly entertaining, and Pegg's open, expressive face is always funny. Perhaps without entirely realising it, the movie provides a through-the-looking-glass satirical version of Ugly Betty and The Devil Wears Prada.
4. The film has none of the self-lacerating pain of Young's book, but as an exercise in humiliation it is second to none.
5. Screenwriter Peter Straughen has converted the original parade of pitfalls and self-mythology into a serviceable rom-com and he's also managed to work in some decent gags for Pegg to work with.
6. It has been pared down to a light comedy with a little romance on the side, and works competently in these terms.
7. It's not a very faithful adaptation, it doesn't make great use of Simon Pegg and Kirsten Dunst has still got those teeth, but there's little here that's offensive and more than enough that's amiable.
8. For a film about upholding personal ideals, its glossy packaging and derivative 'will he get the girl?' narrative sell any credibility down the river in favour of affected screwball larks.
9. Weide... has made an American film, but with a British sensibility; he layers good, broad, dry jokes onto the bones of a traditional Hollywood plot arc.
10. The crushingly unfunny and slopped-together How to Lose Friends & Alienate People has neither the ambition nor the intelligence to do justice to its source material.
1. As happily glib and vicious as its characters.
2. Just watch Bettany strut his stuff. You'll know a star when you see one.
3. Great performances, stylish cinematography and a gritty feel help make Gangster No. 1 a worthwhile moviegoing experience.
4. Yet another genre exercise, Gangster No. 1 is as generic as its title.
5. Certainly the performances are worthwhile.
6. The movie's captivating details are all in the performances, from Foreman's barking-mad Taylor to Thewlis's smoothly sinister Freddie and Bettany/McDowell's hard-eyed gangster.
7. Seeks to transcend its genre with a curiously stylized, quasi-Shakespearean portrait of pure misogynist evil.
8. A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists.
9. As a movie, Gangster No. 1 is bunglesome, but as a feature-length musing on a theme, it's bold and resonant.
10. Feels like pieces a bunch of other, better movies slapped together.

What is a brief summary of the following reviews?

Gangster No. 1 is brutally violent, yet also compelling.
Write a one sentence review of the movie "son of the bride".

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

Write a one sentence summary of the reviews above.

Husbands and Wives is a blistering, emotionally raw snapshot of two marriages self-destructing.
Summarize the following movie reviews:

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

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

What was the overall consensus about the movie?

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

What was the overall consensus about the movie?

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

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

Write a one sentence summary of the reviews above.

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

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

A seminal French New Wave film that offers an honest, sympathetic, and wholly heartbreaking observation of adolescence without trite nostalgia.
1. A fleet and surefooted account of Scientology's origins, Hubbard's years at sea escaping U.S. taxes, and the misery and harassment faced by the church's apostates.
2. Hollywood and Scientology have often collided, but never quite as explosively as they do in Going Clear, the revealing documentary by Oscar-winning filmmaker Alex Gibney.
3. This frequently jaw-dropping documentary... demonstrates vividly how a cult can spread among people searching for something greater in their lives, some advantage over others, some grand answer.
4. There is little breaking news in Going Clear, but the film is eye-opening for those who haven't seen past reports.
5. Excoriating, compelling, genuinely frightening documentary from Oscar-winning director Alex Gibney (We Steal Secrets; Enron) about the strange workings of the powerful Scientology movement. Forget the Tom Cruise/John Travolta/South Park jokes.
6. Even if half of Gibney's film was to be considered tainted, the work of people who have scores to settle, it would be hard to dismiss. They can't all be liars.
7. There is order and selection, of course - to say that this is storytelling is not to impugn its parts - but much of what he has to show you is remarkable in or out of this context.
8. Going Clear: Scientology and the Prison of Belief... is at times jaw-dropping, scary, unnerving, even disturbingly funny.
9. Whether you come away seeing Scientology as a cult that ensnares vulnerable people or as a faith of self-empowerment, the film leaves a terrible taste of too much information. This must be its point, but take heed just the same.
10. We hear the other side -- the people who have left the organization ... What they have to say is equal parts fascinating, disquieting, and downright frightening.

What is a brief summary of the following reviews?

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

What is a brief summary of the following reviews?

Killer Klowns from Outer Space's title promises darkly goofy fun -- and more often than not, the movie delivers.
1. Rent it on Christmas Eve and give that "Wonderful Life" [expletive deleted] a rest for one year.
2. Marks the peak of the 1980's action boom that made mega-stars out of the likes of Ah-nuld, Stallone and Van Damme.
3. A perfect action movie in every detail, the kind of movie that makes your summer memorable.
4. The granddaddy of a whole genre of action films still remains sharp, tough, and exciting.
5. It gets your heart pounding, then makes you hate yourself for it.
6. Inappropriate and wrongheaded interruptions reveal the fragile nature of the plot and prevent it from working.
7. For an evening of edge-of-your-seat entertainment, you’d be hard pressed to do much better.
8. Bruce Willis discovered his movie legs in this superb action movie.
9. ...practically reinvented the action thriller, or at least resuscitated a moribund genre.
10. It may seem, in measure, that watching this in lieu of Frosty or Rudolph violates a practice during a holiday known and based on custom. However true, there is a discernable heart in Die Hard.
What is the consensus?

Its many imitators (and sequels) have never come close to matching the taut thrills of the definitive holiday action classic.
1. What makes it all work is Amenabar's smoothly assured handling of the material, which is always in danger of becoming too silly to bother with.
2. a startling debut from an eye-opening new talent
3. The ending makes us catch our breath not because it's so clever, but because there's so much to the film even without the final revelation.
4. A jaw-dropping psychological thriller about the power of the human mind to bend and break reality.
5. A resonating portrait of millennial angst that ultimately amounts to little more than a preposterous guessing game.
6. The first portion of the movie can't possibly prepare audiences for what turns out to be a series of inane plot contrivances, which help the movie end with a real thud.
7. A film with enough intellectual meat on its stylish bones to give more adventurous moviegoers something to chew on afterward.
8. I felt uninvolved, finding myself drifting into my own dreamworld instead of the filmmaker's.
9. Well acted by a primarily young cast headed by Eduardo Noriega and possesses several particularly bold images that take good advantage of the qualities of the medium.
10. When they finally reveal the Big Secret, you're liable to just shake your head -- both because it's so ludicrous and because you can easily and correctly write the epilogue.

Write a one sentence summary of the reviews above.

Director Alejandro Amenábar tackles some heady issues with finesse and clarity in Open Your Eyes, a gripping exploration of existentialism and the human spirit.
Write a one sentence review of the movie "honeydripper".

Honeydripper's electric musical numbers and sharp performances make for an exciting film, despite its slow pace.
Which movie is the following review about?

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

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

What was the overall consensus about the movie?

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