cindermond/bento huggingface dataset:
1. We know where this is going, or rather where it isn't; but the fun is in watching the negotiations unfold.
2. Its minor thrills come not from not knowing what will happen, but from watching the cagey choreography of two acrobatic minds.
3. Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance.
4. Although we know what happens, Diplomacy keeps up the suspense and pulls off surprises as Choltitz's decision reaches its inevitable ending.
5. You know, after all, what the end result will be, but "Diplomacy" is strong enough to keep the situation intense and important.
6. A little supporting personality could have made the proceedings feel less like a smartly staged character study and more like a wartime drama.
7. Arestrup and Dussollier are mesmerizing as they attack and parry, argue and counterargue. They reminisce about their lives before the war and wax poetic about their families - then engage in battle again.
8. The drama is made interesting and more substantial as hidden facts about the German's situation are revealed, and his soldier's perspective honored.
9. Gripping little drama shows the fate of Paris in the hands of two men
10. Diplomacy induces pins and needles from the get-go and doesn't let up until the credits roll.
Based on these individual reviews, what is the critic consensus?

For filmgoers who value character development and smart dialogue over plot, Diplomacy yields rich, powerfully acted rewards.
1. Director Brian Robbins stages scenes that are more awkward than funny, and the animal effects are bargain-basement.
2. It mongrelizes a much funnier, fresher movie.
3. The Shaggy Dog is wholesome, yes. And safe. And homogenized and soulless and utterly devoid of anything worthwhile.
4. The Shaggy Dog is like eating a great big log of ****, and Downey is the surprising and tasty bits of corn.
5. I now know what comedy in hell is like.
6. This film is evil, pure and simple.
7. Anyone who includes the song "Who Let the Dogs Out?" anywhere within their film will be kicked in the shin, once a day, every day, for one full year.
8. Disney's tried-and-true slapstick material (est. 1959) is here given a heinously unimaginative interpretation by five screenwriters and a director who manages to squander the gifts of an absurdly overqualified supporting cast.
9. The unruly pack of subplots make The Shaggy Dog much more convoluted than it needs to be.
10. Five credited writers undercharacterize everyone including the dogs, and Allen turns in his typical good-natured, superficial performance.
Based on these individual reviews, what is the critic consensus?

This Disney retread has neither inspiration nor originality, but may please moviegoers under the age of ten.
The critic consesnsus is: A high-concept blockbuster that emphasizes special effects over three-dimensional characters, Twister's visceral thrills are often offset by the film's generic plot.. What reviews supported this critic consensus?

1. The movie is wall-to-wall with special effects, and they're all convincing, although it's impossible for me to explain how Bill and Jo escape serious injury while staring right up into the Suck Zone of the Finger of God.
2. Playing tornado hunters Jo and Bill Harding, Helen Hunt and Bill Paxton remember their lines and wait for the props to bump into them. Neither pulls in a whole lot of interest on the screen.
3. Enjoy every cow flying, tractor crashing frame. (published 5-17-96)
4. Even though the plot is more predictable than the path of a tornado, it's still exciting entertainment.
5. When it sticks to kinetically portraying the sheer oddness of the tornadic phenomenon, Twister is a breeze. When it tries to recreate Hawks, it falls gracelessly from the green sky.
6. A summer crowd-pleaser worthy of its wind.
7. Whatever one might think of the increasing mindlessness of effects-driven blockbusters, you'd think they could at least manage to entertain, or to give you a reason to come back when you get up to go to the restroom.
8. Never before have I experienced a picture that could have been so good and that had so much going for it, that blew it so badly.
9. In a word, wow.
10. I am going to recommend Twister for three reasons.
The critic consesnsus is: French director André Téchiné successfully weaves five gripping stories in an engaging and realistic film about the early days of the AIDS epidemic.. What reviews supported this critic consensus?

1. It is a huge credit to the actors that we end up caring about these deeply flawed individuals.
2. An ambling narrative, but an atmospheric one that feels authentic despite its unlikely character pairings.
3. This film need not be approached with dread or trepidation; life, as witnessed by this small group of flawed but always empathetic characters, is a messy, ugly, and unfair business, but sometimes still surprisingly wonderful.
4. Well-served by a varied cast.
5. Some may think the metaphoric possibilities of an incurable illness that can be transmitted through sexual contact have been all but exhausted. Director André Téchiné almost proves otherwise in The Witnesses, a kind of film opera without music.
6. This depiction of the onslaught of AIDS is curiously pragmatic and a little clunky, but then again, perhaps it is time we all got a refresher course in AIDS awareness and its terrible consequences.
7. The beautifully acted ensemble film The Witnesses sidesteps most of its opportunities for high drama, political sermonizing and the jerking of tears.
8. little more than a cursory glance at a particularly eventful period in history, one that deserves art of a more thoughtful nature.
9. The Witnesses is a period-piece but feels utterly contemporary through its characters' urgent, overlapping imperatives.
10. André Techiné's The Witnesses is one of the finest fiction-film accounts of a free yet frightful moment in time, when the relaxing sexual liberties of the previous decade were being squeezed by the onset of an unforgiving new virus.
1. Somewhere along the way the people behind the series stopped thinking of Bond movies as comic books for adults and began thinking of them as action movies.
2. A patched-together mix of stunts from past Bond movies strung together by a plot that is improbable even by Bond standards.
3. t's got just about everything you could want from a Bond movie, and it's one of the most purely entertaining movies I've seen this year.
4. Knotty.
5. James Bond hasn't been this boring since Timothy Dalton carried the license to kill.
6. Even diehard Bond aficionados may find themselves thinking that the formula is not enough.
7. Brosnan's repertoire of eyebrow arching while ogling and jaw clenching while escaping is by now entirely without flavor.
8. Despite his lackluster co-star, I actually like Brosnan as Bond. I just wish that he had, well, better working conditions.
9. The hodgepodge of strong and weak characters makes the film move slowly at times -- slowly enough for us to notice some of the little things that weren't done right.
10. Far too reverent in its winking irreverence, the film treats a ragged formula as if it were sacred.
Based on these individual reviews, what is the critic consensus?

Plagued by mediocre writing, uneven acting, and a fairly by-the-numbers plot, The World Is Not Enough is partially saved by some entertaining and truly Bond-worthy action sequences.
The critic consesnsus is: A History of Violence raises compelling and thoughtful questions about the nature of violence, while representing a return to form for director David Cronenberg in one of his more uncharacteristic pieces.. What reviews supported this critic consensus?

1. With A History Of Violence, Cronenberg uses the pulp gangster genre - as opposed to, say, sci-fi horror -- to draw us into a dialogue on our relationship as voyeurs to violence, both real and cinematic.
2. Without conceding any of his iconoclastic vision, Cronenberg has turned a genre film with classic Western overtones into a gripping psychological drama that examines the duality of man and his infatuation with the art of violence.
3. While it weakens in its final stretch...A History of Violence succeeds enormously thanks to the strength of its direction and performances.
4. A truly entertaining and engrossing study of violence, family, and our pasts eventually coming back to haunt us...
5. A fascinating exercise in cinematic restraint resulting in a captivating, not to be missed film.
6. The less you know about this movie before seeing it -- and you really should see it -- the better.
7. Cronenberg's direction, mirroring the split in Tom, is alternately measured and frighteningly explosive, and, as always, he gives the movie a nasty underlay of sexual perversity.
8. This peculiarly predictable picture has been calculated, or miscalculated, to set up certain expectations, fulfill them, and then do the same thing again, thereby giving us a chance to see what's coming and, at least in theory, be shocked.
9. Despite the blood, the film follows Cronenberg's marvelous Spider in finding its true horror in the dark corners of the mind.
10. An absolutely sensational piece of filmmaking.
Here are some reviews for a movie: 1. Posey's such a delight it's easy to appreciate her even in a film as fruitless as The Oh in Ohio.
2. One must endure an hour of...crude gags until the film mutates into something almost wonderful in its final third, rescued by unlikely romantic foil Danny DeVito
3. Unfortunately, writer Adam Wierzbianski, who seems more steeped in the rhythm method of sitcom than the less predictable peaks of screwball, allows the batteries to run down prematurely.
4. A C- sex comedy with a near A-list cast -- at least in terms of talent -- The Oh in Ohio is one of those movies that promises much but doesn't deliver.
5. Or more aptly, The Aw in Awful.
6. Sex comedies often glean laughs out of sexual humiliation, but when the laughs don't come -- and The Oh In Ohio is devoid of even the mildest chuckles -- all that's left is the humiliation.
7. Parker Posey is not the only one who isn't getting satisfaction here.
8. At the end of the day, Kent and screenwriter Adam Wierzbianski have given us a mildly amusing premise, but fail to turn it into a story that takes us anywhere pleasurable.
9. The sexual nature of the film will attract the tweeny crowd but the summer/fall romance between Priscilla and Wayne is the real draw, thanks to [Danny] DeVito.
10. Posey rides the role with grace and charm, capturing each lightening bolt of self-discovery while also keeping the role grounded in quietly eroding shame.

What was the overall consensus about the movie?

A muddled sex-comedy that feels oddly sexless, The Oh in Ohio packs in too many ideas without establishing a clear identity or objective.
The critic consesnsus is: Austere, finely crafted, and compelling.. What reviews supported this critic consensus?

1. Intelligent but emotionally uninvolving.
2. This is an astonishing movie.
3. A shrewd, highly controlled little film.
4. Spends more time than you'd want chasing a master carpenter around a trade school for reasons that aren't clear until undercurrents you barely knew were there erupt in one heart-pounding scene.
5. Cinematically speaking, Luc and Jean-Pierre Dardenne are a modern-day miracle.
6. The utterly unpretentious, stripped-down artistry of the Dardennes' story-telling delivers a profound payoff that exceeds expectations.
7. This is a fine, uncompromising film, and Gourmet's performance should be called great.
8. It is as assured and flawless a telling of sadness and joy as I have ever seen.
9. I can't deny being stirred by the wildly melodramatic climax of The Son, with its thunderously quiescent Zen Buddhist conclusion.
10. The Dardenne brothers focus obsessively on physical and material details, thereby imbuing objects and actions with a spiritual significance.
1. For one moment, the patience of documentarians nurtured understanding among strangers accustomed to being enemies -- for which a prize is surely in order.
2. It's the secular Israeli kids (Yarko and Daniel) and especially a graceful young Palestinian refugee (Sanabel) who offer the most hope.
3. This is a raw and disturbing tale that took five years to make, and the trio's absorbing narrative is a heart-wrenching showcase indeed.
4. At times an almost unbearably moving portrait of innocence lost and how ideologies easily infect young minds.
5. Gives us a view of life in and around Jerusalem that is intensely personal and immensely heartbreaking.
6. ...devastatingly direct to the heart of the matter, demonstrating that there is no easy walk toward peace in a region with such strong conflicting traditions
7. Though the focus strays at times, this Oscar-nominated doc makes good on most of its Promises.
8. Takes a simple idea and just about breaks your heart with it.
9. Many insightful moments.
10. If you like peace, you'll like Promises.

Write a one sentence summary of the reviews above.

A heartbreaking and illuminating look at the Israeli and Palestinian conflict through the eyes of children.
The critic consesnsus is: While sluggish in spots, Resurrecting the Champ is a sports/newsroom drama elevated by high-caliber performances by Samuel Jackson, Josh Hartnet, and Alan Alda.. What reviews supported this critic consensus?

1. Even if it doesn't bring the nearly dead boxing film back to life, Resurrection offers a revealing peek into reporting and the ways it can go wrong, coming from the best or most crass intentions.
2. A heart-warming film about sons and fathers and the reality of famous figures, whether they're on the radio or across from you at the dinner table.
3. Those expecting a straight-up boxing drama may be slightly disappointed in Resurrecting the Champ, but the moral convictions resonate beautifully.
4. Resurrecting the Champ leaves a lot to be desired as a boxing movie. And compared with newsroom drama champs like Shattered Glass and Absence of Malice, it is undercard-caliber material.
5. Hartnett barely manages to carry all [the movie's] weight, only to be blown off the screen by Jackson's quiet performance as the shambling Champ.
6. [Director] Lurie clearly wants Resurrecting the Champ to be 'more' than a sports movie, or a newspaper movie. Ironically, he ends up with less.
7. Resurrecting the Champ bobs and weaves enough to avoid the usual sports clichés, but its too-earnest screenplay lays it on thick and pulls what could have been a knockout punch.
8. Treacle takes over in the last act, but most of this fact-based story by screenwriters Michael Bortman and Allison Burnett takes the inspirational sports drama into unexpected and morally complex territory.
9. Hardly anything feels real, but what feels even more unreal is Hartnett with a cloying, sentimental, self-pitying performance. The liveliest thing in the film is the great Jackson, slumming again in a role miles beneath him.
10. Comes across an awful lot like a sentimental, manipulative teleflick. The good news is that it's a fairly well-executed example of the type.
Write a one sentence review of the movie "alpha and omega".

With bland visuals and a dull, predictable plot, Alpha and Omega is a runt in 2010's animated litter.
1. Bong Joon-ho's The Host is the best kind of genre film, a movie that delivers the conventions audiences expect from a horror flick while also offering surprising new variations on the formula.
2. The Host is wildly entertaining; people who love the genre will get their geek buttons pushed hard by this flick. But what makes the movie an instant classic is that it's also, in its dark heart, a furious lampoon.
3. Bong's supreme achievement is that he has made his many messages fun.
4. If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
5. You'll laugh, you'll gasp, you'll jump, you'll ask Hollywood for your money back. Seek it out.
6. Retains a quirky charm that cannot be discounted. Recommended not just for what it achieves, but for what it attempts to.
7. A great piece of filmmaking and a legitimate science-fiction/horror classic.
8. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.
9. What a pleasure to watch an ambitious horror film that not only frightens but also surprises and engages us completely with its artful shifting of tones.
10. Boon's film is both funny and heartbreaking, a supremely confident mix of political satire, free-floating paranoia, fractured family dynamics and the kind of comedy that regularly reconfigures itself into tragedy.

What is a brief summary of the following reviews?

As populace pleasing as it is intellectually satisfying, The Host combines scares, laughs, and satire into a riveting, monster movie.
Summarize the following movie reviews:

1. A lusty, vigorous, sun-drenched romp in which two parallel love affairs intertwine with comedic and dramatic results.
2. The pace is fast and Shakespeare pleases much.
3. One longs for genuine bursts of cinematic poetry instead of all the overemphatic gusto.
4. The picture is overripe, and with few exceptions, so are the performances.
5. Somehow, the movie feels insubstantial and uninspired.
6. The key to the film's success is in the acting, especially in the sparks that fly between Branagh and Thompson.
7. Director Branagh, who altered the play imaginatively for the screen, gives wonderful import to this silliness from long ago.
8. The movie is uneven, but the range is from good to outstanding.
9. Kenneth Branagh's return to Shakespeare captures the Bard's captivating comic romance at the peak of flavor.
10. The good news is that the audience will have just as much fun as the players with this one.

Kenneth Branagh's love for the material is contagious in this exuberant adaptation.
The critic consesnsus is: Alternately horrific and uplifting, Call Me Kuchu exposes heinous systematic brutality with a clear eye and admirable precision.. What reviews supported this critic consensus?

1. It's a film about vibrant, intelligent people with a real love of life, at times imbued with a joy that, for those familiar with the tragedy it discloses near the end, is almost too much to bear.
2. While a local filmmaker's perspective may have brought more dimensions, the coverage of events here is impressive and on the mark.
3. A heartfelt human rights gem that exposes anti-gay hatred in Uganda.
4. [An] eloquent, devastating documentary ...
5. The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
6. It does the one thing that bigots and homophobes can't stand: it puts a human face on the targets of their unfounded, irrational hatred.
7. Equally gut-wrenching and inspiring, the documentary Call Me Kuchu beams right from Uganda, the global hypocenter in the ongoing and intensifying struggle over LGBT rights.
8. It's far too soon for a happy ending, but in praising Kato's bravery, Call Me Kuchu at least points to the potential for one.
9. Apart from its laudable goal of raising awareness, the film doesn't have much to offer.
10. Simultaneously difficult to watch and a must-see.
Summarize the following movie reviews:

1. More human interest than agitprop.
2. The point that the homophobic right is picking and choosing which parts of the Bible to follow, and which verses to look at in the context in which they were written, is both terribly familiar and rudimentarily argued.
3. As long as it's dissecting the six or seven passages in the Bible that ostensibly disparage homosexuality, this documentary ode to tolerance takes a shrewd look at how speciously selective and ahistorical the church condemnation of gays really is.
4. [For] The Bible Tells Me So must be the first liberal documentary to resist Bible-bashing for Bible-thumping.
5. An important and edifying documentary that can convince many to open their hearts and their minds to support gay and lesbian equality.
6. This rational, human and very serious documentary by Daniel Karslake gets at the historical distortions of the Good Book as well as the ease with which holy writings have been used in America to propagate hate.
7. Here's hoping Karslake's film won't simply preach to the converted.
8. There is no denying that the film fills a need. The inevitable DVD should be packaged in a plain cardboard sleeve, so that viewers can carry it in their pockets and, if confronted by a homophobe, hand it over and say, "Watch this, then get back to me."
9. Filmmaker Daniel Karslake takes aim at the ways in which Scripture has been used to discriminate against gay men and women, and reveals the ways in which literal -- and often grossly inaccurate -- readings of the Bible have damaged countless lives.
10. This is an impressive, critical film that should be screened for everyone who's ever exploited the Bible to justify fear and prejudice.

A timely and poignant examination of gays, their families and religion.
1. Redux doesn't redefine Apocalypse Now -- rather, it adds archival material. But it's terrific to see the film back in theaters.
2. Well worth seeing for just such insights, its flashes of brilliance, failures, and virtuous intentions.
3. Coppola and company has made a bigger, but not better, movie that does have to be seen [on the big screen]
4. This is the one where [Coppola] honors his vision -- or clears his name, whichever way you look at it.
5. Although its magnificently restored print and marvelously revamped soundtrack are reason enough to catch it in the theater, one can't help but feel that the new scenes detract from the film's epic tale.
6. In some ways even richer and more atmospheric than the original version, in others attenuated and logy.
7. The new Redux version isn't a better film, but for Coppola fans and film lovers, it's essential viewing.
8. You won't see any film this year as beautiful, and plain thrilling as Apocalypse Now Redux.
9. The film now seems both mellowed and -- thanks in part to the most vibrant-looking prints in its 22-year history -- revitalized.
10. If anything, it's an excuse to see the film on the big screen, and that's good enough for me.
What is the consensus?

The additional footage slows down the movie somewhat (some say the new cut is inferior to the original), but Apocalypse Now Redux is still a great piece of cinema.
The critic consesnsus is: A commentary on fascism and beauty alike, Bernardo Bertolucci's The Conformist is acclaimed for its sumptuous visuals and extravagant, artful cinematography.. What reviews supported this critic consensus?

1. This film nevertheless touches some issues that seem universal even today.
2. Trintignant gives a mesmerizing performance as someone wrestling with his inner demons.
3. The headier aspects and New Wave stylings do make it worthwhile.
4. Trintignant gives a legendary performance.
5. An eye-watering testimony to the erstwhile dash of international cinema.
6. One of Bertolucci's best films, The Conformist makes a provocative connection between repressed sexual desires and fascist politics.
7. The exquisite reverie of a death dance (political and sexual), filmed by a wizard of barely sublimated eros.
8. Juggling past and present with the same bravura flourish as Welles in Citizen Kane, Bertolucci conjures a dazzling historical and personal perspective.
9. The movie is pure magic as story, as drama, as photography, as conviction, as everything except its ideas.
10. Bertolucci never made another film that even came close to The Conformist
1. Spider-Man 3 may disappoint those who think tongue-in-cheek spectacle is the only name of the game.
2. At the screening I attended -- which was packed with real people, not just movie reviewers -- I thought I detected an actual slump of puzzlement at the end, as the movie's final scene sank slowly into a bog of unexpected mush. I'll say no more.
3. Spider-Man 3 isn't a bad film -- many scenes, taken on their own, are thrilling and even moving -- but it indicates a downward spiral that leaves you not wanting to see what's in store for Spider-Man 4, but rather, dreading it.
4. The script is busy with so many supporting characters and plot detours that the series' charming idiosyncrasy is sometimes lost in the noise. Fortunately, it's entertaining noise.
5. 'Spider-Man 2' was one of the best films of its kind; by comparison, '3' registers as a perfectly acceptable, often compelling sequel... that achieves most of its goals but doesn't break much new ground.
6. "Don't shoot, fellas: it's the bass player from Fall Out Boy!"
7. All in all, the fun has simply gone out of it.
8. The highly disappointing Spider-Man 3 has its touching moments, to be sure, but they're few and far between.
9. The effects are amazing and fans will enjoy the references to the comics, but the film is something of a disappointment overall because it tries to do too much.
10. A browbeating domino effect of more, more, more with special effects that make things easier to see but harder to care about. With great filmmaking power has come great filmmaking laziness that turned a good franchise into candy-colored crud.

What is a brief summary of the following reviews?

Though there are more characters and plotlines, and the action sequences still dazzle, Spider-Man 3 nonetheless isn't quite as refined as the first two.
1. Tupac: Resurrection is surprisingly direct...
2. Lazin's remarkable achievement is to catch Tupac in the act of discovering himself. It's something to see.
3. A poet warrior of the first order emerges in this riveting chronicle of the brief life and times of rap superstar Tupac Shakur.
4. Even hard-core fans will learn something.
5. By the time you've heard the gunshot that signals his 1996 death, you will feel that this world lost a very important voice.
6. Tupac: Resurrection gives us a little bit of both but, more than that, leaves us with the impression that Tupac Shakur had a lot more left to say.
7. Content to be a kind of Valentine to the slain rapper -- so reliant on recycled MTV footage that it feels more like a Behind the Music special than a feature film.
8. The film gives a fine sense of why Shakur's fans carry the torch for his legacy. But it's better from the perspective of that spirit on the streets, not up in the clouds.
9. A must-see not only for fans of Shakur's music but for anyone who appreciates a well-told life story.
10. The film would have been strengthened if it had been a little more willing to challenge Tupac's behaviour.

What is a brief summary of the following reviews?

There's no question where the director's loyalty lies in this one-sided tribute; however, Tupac's charisma makes this doc an engaging sit.
1. Nathan's gorgeous slow-motion shots of the 12 O'Clock Boys riding for the camera shows the glory to which Pug aspires; in the rest of the movie we see the life that's really awaiting him.
2. There's no balance of perspective, but what the feature lacks in fullness it makes up for in pure energy, extracting a sense of life in motion as its influence by a false sense of security.
3. A short, pungent, ambiguous portrait of the poorer sections of Baltimore and the young men who get their kicks riding dirt bikes through the streets en masse, popping wheelies and dodging the police.
4. This defiance of the law, combined with the skill, speed and excitement, is part of the romance that draws Pug and other kids into the biker life. It is like the wild west.
5. The result is evocative and compelling, even if it doesn't offer much context or socioeconomic insight into its broader subject.
6. One of the more unique looks at the Other America to come down the line in recent years
7. It's the rare film that gets deep into low income inner city life and zeroes in on what motivates those whom society tends to forget.
8. For a first-time filmmaker, Nathan achieves a remarkable balance, presenting each side with very little bias.
9. Documentary filmmaker Lotfy Nathan explores the outlaw appeal of an inner-city Baltimore dirt-bike gang through the eyes of a 13-year-old wannabe member named Pug.
10. Its rhythm is the jagged rhythm of everyday life, and its primary asset is its unemphatic authenticity, offering a window into a very specific time and place.

What is a brief summary of the following reviews?

Visually striking and grippingly fast-paced, 12 O'Clock Boys asks thought-provoking questions with admirable subtlety and restraint.
1. For the generation that grew up on female pioneer Gertrude Berg's radio and TV shows, Aviva Kempner's Yoo-Hoo, Mrs. Goldberg will likely serve as a welcome trip through memory lane.
2. There's far more to this groundbreaker who built an empire in the face of formidable challenges.
3. Berg's imaginary Bronx family rooted in ethnic pride, captivated at a time of tremendous pressure on immigrants to assimilate and conform, and suppress their unique cultural identity. And while windows nicely substituted for texting.
4. Yoo-hoo, Mrs. Goldberg benefits from a charismatic if elusive biographical subject that has all but faded from public view.
5. Technique is nothing fancy in this straightforward chronological account that leaves a warm glow for the linked personalities, the programs and the era.
6. Not being a student of classic radio or television, I'd never heard of Gertrude Berg before this film. After watching the documentary on her life, I never want to forget her.
7. Accurately subtitled 'The Most Famous Woman in America You Never Heard Of,' Aviva Kempner's well-intentioned portrait of Gertrude Berg continues the director's focus on unsung Jewish-American heroes.
8. A captivating and illuminating documentary filled with charm and good-natured humor. It finds just the right balance between entertaining the audience and provoking them intellectually.
9. Celebratory but clear-eyed.
10. Yoo-Hoo, Mrs. Goldberg is really a lament for contemporary Jewish comedy's loss of ethnic confidence. Kempner's nostalgia becomes irrefutable in those faded images of Berg's beaming face and discreet intelligence.

Write a one sentence summary of the reviews above.

Equal parts edification and entertainment, Kempner's tender tribute to a forgotten pioneer of American entertainment is both richly deserved and long overdue.
Write a one sentence review of the movie "spy game".

The outcome of the kinetic Spy Game is never in doubt, but it is fun watching Robert Redford and Brad Pitt work.
Which movie is the following review about?

Arguably Wilder's best film.

sunset boulevard
1. Miller never falls back on the formulas that have become the bane of too many recent action films, and his sustained cuts lend a clarity to the proceedings.
2. An astonishing display of virtuoso cinema that is destined to take its place among the most vivid and freshly imagined fist-to-groin contests in the medium's history.
3. Quality, visionary sci-fi.
4. Disjointed but it still rocks.
5. Gibson impressively fleshes out Max, Tina Turner is striking in her role as Aunty (as well as contributing two topnotch songs, which open and close the picture) and the juves are uniformly good.
6. The performances are superb. The script allows Gibson to bring a welcome new dimension to the Mad Max character, and the actor rises to the occasion.
7. Great goofy fun.
8. The punky energy of the earlier films has given way to a self-conscious striving for significance, obscuring Miller's considerable kinetic talents in favor of a lumpy didacticism.
9. Enough imagination, wit and ingenuity to put recent Spielberg to shame.
10. Good action plus Tina Turner. Welcome indeed.

What is a brief summary of the following reviews?

Beyond Thunderdome deepens the Mad Max character without sacrificing the amazing vehicle choreography and stunts that made the originals memorable.
Which movie is the following review about?

While it's beautifully shot and acted, the film is also somewhat indulgent and meandering.

when did you last see your father
Write an ordered list of reviews about "sandlot".

1. There's a snappy change-of-pace gag involving a little guy and a nubile lifeguard, but the screams and barks and fraudulent emotions grow wearying.
2. 'The Sandlot' always struck me as a more kid-friendly version of 'Stand by Me.'
3. A solid double rather than a grand slam, The Sandlot remains a refreshing antidote to the daily round of contract squabbles on the sports page.
4. You feel as if you're being smothered in cotton candy by a director obsessed with infantility and who cannot bear to face the reality of childhood.
5. In The Sandlot's nostalgia for simpler times, a single-sex world seems to be a key component.
6. The kids even have their own treehouse, which means that the production designer is the only person connected with this project who actually went out on a limb.
7. The Sandlot is a safe, wholesome, patriotic family picture about baseball, and if there is an original scene, it escaped my attention.
8. In this well-crafted movie, a strong cohesive ensemble makes the team likable. Guiry as Scotty is especially good.
9. Any of Charles Schulz's baseball-oriented Peanuts strips contains more understanding of baseball and more insight into children, as well as more pointed fun.
10. Several of the hard issues involving childhood -- getting accepted in a new neighborhood, getting accepted buy a new stepdad -- are handled with sensitivity.
Summarize the following movie reviews:

1. A sensational counterpoint to everything animation means as family entertainment in Hollywood.
2. Right down to faux black-and-white film stock and scratchy gramophones, Triplets resurrects Flesicher's world of music, debauchery, inspired illogic and crude showbiz parody.
3. An animated film that takes familiar Disney archetypes and twists them into vivid, imaginative shapes.
4. Packs staggering levels of craft and imagination into every last frame.
5. Wonderfully weird.
6. A mad masterpiece.
7. "Dazzlingly inventive and delightful and probably unlike any cartoon -- or movie -- you've ever seen..."
8. Virtually dialogue free, Les triplettes is full of funny and bizarre images, often in the same frame.
9. The astonishing, outlandish, and singular originality of this movie defeats any attempt to describe or explain it. But it also makes it a lot of fun to watch.
10. Triplets is very probably unlike anything you've seen before.

Richly detailed and loaded with surreal touches, The Triplets of Belleville is an odd, delightful charmer.
1. A slick, commercial cinematic jukebox, a series of self-contained song-and-dance sequences that could be cut apart and played forever on MTV -- which is probably what will happen.
2. All could be forgiven if it weren't for the soulless overall slickness.
3. Not quite a career low for John Travolta -- Two of a Kind was still to come -- but one he nevertheless would probably love to forget.
4. It is a movie caught in a time warp: a slick MTV video that celebrates Eisenhower-era morality. For the Staying Alive audience, the problem is staying awake.
5. [Sylvester Stallone] pours lots of energy but little intelligence into scads of short, sweaty scenes more suited to the rhythms of cable-TV ''rock video'' than to the wide screen.
6. As always Travolta is urban gorgeous and very charming. The rest of the film is neither.
7. If not quite one of the worst sequels ever made, it's near the top of the list of all-time most disappointing sequels. Writer-director Stallone stupidly attempts to turn Tony Manero into a dancing Rocky.
8. The bottom line is that Staying Alive is nowhere as good as its 1977 predecessor, Saturday Night Fever.
9. It all amounts to an embarrassing show of unrestrained, Hollywood-style egomania.
10. Tracking Travolta's adventures as he gets to perform on Broadway and falls in and out of love, director Stallone is in his mindless mode when it comes to characterization.
Based on these individual reviews, what is the critic consensus?

This sequel to Saturday Night Fever is shockingly embarrassing and unnecessary, trading the original's dramatic depth for a series of uninspired dance sequences.
Write an ordered list of reviews about "millennium-actress".

1. A lovely meditation on memory, movies and the almost magical power of images to fire the imagination and keep the hope of happiness and beauty alive in the face of real-life ugliness and despair.
2. ...in its own way as structurally inventive as the recent `American Splendor.'
3. Millennium Actress is an enchanting Japanese animated film about a woman whose life is propelled by the yearning in her heart for a mysterious stranger.
4. The movie's narrative can be taxingly ornate, but there's something beautiful about its metaphorical conflation of politics and glamour, the real and the fictional.
5. Kon and co-writer Sadayuki Murai's cleverly slippery story bursts with real passion, overcoming the lack of technical achievement.
6. Well-drawn Japanese anime illustrates the perseverance of an actress pursuing a man whom she loved at first sight.
7. This is a screen trip that actually takes you someplace -- out of the world, around the world and straight to the heart of the world.
8. ...a well-crafted romantic storyline that will undoubtedly ring true with adventurous moviegoers looking for something off the beaten path.
9. It's hard to imagine anyone who appreciates animation as an art form not enjoying this film.
10. It is a lovely Valentine to the golden age of Japanese filmmaking and an era of gentler, deeper feelings.
The critic consesnsus is: The Constant Gardener is a smart, gripping, and suspenseful thriller with rich performances from the leads.. What reviews supported this critic consensus?

1. The Constant Gardener" has strengths that aren't apparent until the final credits start rolling.
2. While le Carre's narrative returns an unequivocal guilty verdict on the drug companies, the jury on Meirelles's storytelling abilities remains hung.
3. A sad, taut, and excellent global mystery.
4. An offensively condescending tourist's eye
5. What it adds up to is a good yarn that uses real political concerns to make itself look beefier than the average Hollywood thriller.
6. Fernando Meirelles, codirector of City of God, stresses old-fashioned storytelling and takes full advantage of his cast, including Danny Huston.
7. a deeply intelligent and profoundly moral examination of a world where the political and the personal cannot ever be kept apart.
8. Mr. Fiennes, drawing his lips inward and adding just a slight quaver to his voice, gives his finest performance in almost a decade.
9. The pornography of Third World damage and suffering for the popcorn munching voyeuristic entertainment of more economically cozy moviegoers.
10. Elaborate, cynical, ambitious, eager, visually arresting, the film wants it all and gives plenty.
The critic consesnsus is: Abbass shines at the center of this sensuous and vibrant film.. What reviews supported this critic consensus?

1. A terrifically subtle piece about one woman's personal liberation in a patriarchal Muslim society.
2. Rouge is less about a superficial midlife crisis than it is about the need to stay in touch with your own skin, at 18 or 80.
3. Warm and exotic.
4. Lackluster and uninspired.
5. Amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances.
6. A film drenched in irresistible color and texture.
7. an essentially awkward version of the lightweight female empowerment picture we've been watching for decades
8. I wish the belly-dancing scenes had been more nimbly shot but found it a small revelation to see a movie in which women too plump for Hollywood-style dancing are shown lighting the fires of male fantasy.
9. Refreshing.
10. Has its own special flavor.
1. You can almost feel a trickle of sweat start to form as director Yann Demange and his crew evoke a nightmarish world in which trust is a luxury that only the foolish can afford.
2. Having settled on Belfast, the film-makers revel in the artificial fibres, shaggy hair, and nicotine-yellow ceilings of a particular place at a particular time.
3. With O'Connell's arresting lead performance backed by a gritty supporting cast, '71 marks an impressive feature debut from director Yann Demange, who uses jittery hand-held cameras to give the action cinema verité urgency and immediacy.
4. It's beautifully shot, smartly written and packed with suspense. But Top Boy director Yann Demange and Black Watch writer Gregory Burke do slightly over-egg the plot.
5. A formidable debut for TV/commercial director Demange
6. Yann Demange's film most backgrounds the politics in favor of nervy suspense, you-are-there verisimilitude and strong characterizations.
7. Demange and Burke jack up the tension by subverting the stranger-in-a-foreign-land aspect of the plot in ways that smartly and subtly tap into the specifics of the situation.
8. The film's more interested in the politics of war, rather than the specifics of the conflict; the idea, to paraphrase Richard Dormer's ex-army medic, that rich ****s use stupid ****s to kill poor ****s.
9. 1971 was one of the worst years of The Troubles and many of us would be forgiven for not wishing to return to that very grim time in our recent history. However, '71 is a sensational watch, a must-see for film goers in Northern Ireland.
10. The mix of genre contrivances and docudrama can be queasy at times. You won't have a moment to dwell on such faults thanks to stealthy direction by newbie Demange, who keeps the action moving between scenes and standoffs that are lurid and visceral.
What is the consensus?

Powerfully directed and acted, '71 stays true to its fact-based origins while remaining as gripping as any solidly crafted action thriller.
Which movie is the following review about?

A work of magic that makes the Broadway adaptation look like overproduced swill.

1001902-beauty and the beast
1. One of the most thoughtful and startling snapshots of the human condition of the last ten years.
2. Played by Spanish actor Javier Bardem, Chigurh is the most original bogeyman to bloody up the screen in a while.
3. The last word on the modern-day western used to be Peckinpah's. No Country for Old Men is Peckinpah gone post-Peckinpah.
4. Beautifully photographed (by Roger Deakins) in leathery Texas tans, No Country For Old Men is filled with twists and surprises, hypnotically engaging from its very first scene.
5. From brutal start to ironic finish the movie's tension is constant.
6. I can't help feeling the film is ultimately hollow.
7. An exasperating and self-defeating experience, rather like listening to a nymphomaniac extol the virtues of celibacy.
8. As much as the film is about Bardem's even-keeled determination... it's also about Tommy Lee Jones' brilliantly characterized Texas sheriff, who, faced with a trail of blood like he's never seen, wonders if he's still a match for a changing world.
9. No Country for Old Men is an action film both measured and grave, opening as a Jim Thompson-esque crime saga set on the Texan sands, but as it moves along the film acquires an allegorical depth.
10. This magnificent film represents the best work the Coen Brothers have done since Fargo. Like that classic this is a cold-blooded thriller with a darkly humorous edge.

Write a one sentence summary of the reviews above.

Bolstered by powerful lead performances from Javier Bardem, Josh Brolin, and Tommy Lee Jones, No Country for Old Men finds the Coen brothers spinning cinematic gold out of Cormac McCarthy's grim, darkly funny novel.
Here are some reviews for a movie: 1. This is a kids' movie: Parents can either get into the silly-suspenseful spirit of it or play Rummikub on their iPhones.
2. The film toggles between high camp and deadly earnestness, all the while threatening to drown in an ocean of not-so-special effects.
3. While it certainly isn't terrible, it plays like a low-rent variation of the Harry Potter formula--innocuous but instantly forgettable.
4. Likable as Percy may be, it's not lightning he's stolen.
5. It's not awful. It's just not particularly inspired. Something tells me this movie won't be inspiring a sequel anytime soon.
6. Built with set pieces that demonstrate a real affection for Greek myth iconography and centered on a strong performance by Logan Lerman (a star in the making), Percy Jackson & The Olympians aims young and hits the target fairly consistently.
7. Harry, Ron and Hermione: Relax. You could whip Percy Jackson and his pals with your wand hands tied behind your backs.
8. Parental Content Review
9. It's apparent that Potter may at last have a worthy successor.
10. Like its stars, the film is genial good company.

What was the overall consensus about the movie?

Though it may seem like just another Harry Potter knockoff, Percy Jackson benefits from a strong supporting cast, a speedy plot, and plenty of fun with Greek mythology.
Write an ordered list of reviews about "summers tale".

1. Poupaud may come off as callow and timid... but Rohmer seems to suggest that his youthful mistakes will make him a better man, a typically generous, hopeful, and convincing sentiment in a disarmingly winning film.
2. The third, sunniest and funniest of Rohmer's seasonal tales.
3. "A Summer's Tale" has room to focus on Rohmer's brilliance at revealing human nature through articulate, multidimensional characters, perfectly cast, who in some ways seem to exist outside of time.
4. The seasons, summer especially, are so atmospheric and weighted with many good associations and memories, all of which makes A Summer's Tale a nice cinematic diversion for any season.
5. Discovering that there's a 1996 movie by Eric Rohmer that's only now making it into U.S. theaters is like finding a $20 bill in an old pair of pants.
6. Think of it as a thriller by Hitchcock-a Rohmer favorite-only with words, not knives, that cut straight to the heart.
7. An emotionally rich tale with lots of tasty talk about the way men and women deal with each other, knowingly or otherwise.
8. A Summer's Tale feels like a great beach read of a movie, that deceptively slender paperback you tuck into your luggage because it's substantial without weighing much.
9. [It's] as if the director had been awaiting for half a century the artistry with which to exorcise his memories of embarrassment, pain, and sexual frustration.
10. A Summer's Tale is vintage Eric Rohmer, his most richly satisfying film in a number of outings.
1. Too often the movies view the problems of Africa through Western eyes, but Devil turns that weakness to a literal strength, because Steidle could do nothing in his position except take photographs.
2. Brian Steidle wants to show you some pictures. Please look at them.
3. An exceptionally powerful film driven by contradictory forces.
4. Like the best art, documentary films can provoke strong emotions -- and The Devil Came on Horseback is definitely provocative.
5. [Steidle's photos] cannot be viewed without flinching, but they must be seen by as many people as possible.
6. The Devil Came on Horseback is a documentary about the genocide in that part of Africa, and the film's strength is that it shows us the horror, rather than tells us about it. It's painful to watch.
7. The Devil Came on Horseback means to upset you. To this end, it presents Steidle's photos and very vocal frustrations.
8. With an estimated 400,000 dead since 2003, and 2.5 million Sudanese left homeless in the wake of the genocide, ignoring the story doesn't seem like a humane option.
9. One of the most searing and emotionally shattering documentaries ever made about the indifference of the world to genocide.
10. Marine Captain Brian Steidle, who went to Darfur to monitor a peace agreement but instead became a witness to genocide, should be considered by Time for Man of the Year.

What is a brief summary of the following reviews?

The Devil Came on Horseback is both a strong primer on the complexities of the situation in Darfur and a harrowing first-person doc.