Question: Here are some reviews for a movie: 1. Just dreadful.
2. Of interest only as a product of such generic blandness as to be absolutely airtight: not a whiff of originality or real life has been allowed to spoil its plastic perfection.
3. The sort of eighties teensploitation falderal that wasn't good to begin with and is somewhere just north of repugnant now.
4. I liked this movie, which is strange, because it isn't very good.
5. As predictable as they come, but Murphy and Kutcher help move things along smoothly. They generate a breezy give-and-take that transforms nicely from infatuation into glaring hatred.
6. A hit-on-the-head-style comedy of excruciation, with jokes on such always-reliable topics as a rich lady named *****, huge, electrical marital aids, body cavity searches, getting hit on the nose, getting hit on the head, and getting hit on the head again.
7. If I had been a wedding guest, instead of throwing rice, I would have thrown something more substantial - like a 10-pound ashtray.
8. None of (the) problems impede the movie's funny concept and fun performances -- and that's what counts.
9. The two wonderfully likeable stars steal your heart in every silly scene.
10. The cast must work overtime to overcome musty jokes that possess the unmistakable scent of a rented tuxedo.

Here is the consensus of critics:Just Married's plot is predictable, and the overdone pratfalls get tiresome.

Here are some reviews for a movie: 1. The world is coming to an end: cracks are forming in the Earth's surface, mountain-sized chunks of ice are falling from the sky, John Waters has made a family film.
2. Hairspray represents more-mainstream John Waters fare, but the inspired casting itself will warrant a look for this 1988 film.
3. Waters writes warmth into his caricatures, lifting Hairspray above cartoon cult.
4. The movie is a bubble-headed series of teenage crises and crushes, alternating with historically accurate choreography of such forgotten dances as the Madison and the Roach.
5. Waters' most accessible bout of cinematic insanity.
6. Hairspray might be tame by the director's standards, but it loses none of its subversive energy in its quest for a PG-rating.
7. Lots of people who use hairspray tend to lay it on real thick. One spritz from the aerosol can is never enough.
8. It's not exactly Malcolm X, but Waters has never really made a stronger political statement since this film.
9. While it's corny by design, Hairspray also aims to get at something truthful, about the various kinds of prejudice [...] and how youthful optimism and music made a difference [...].
10. Perhaps Waters' best known movie.

Here is the consensus of critics:Hairspray is perhaps John Waters' most accessible film, and as such, it's a gently subversive slice of retro hilarity.

Here are some reviews for a movie: 1. As a comprehensive look at the Armstrong affair, as well as an often complex examination of power dynamics in professional sports, it's fascinating and highly watchable.
2. Only when it gets personal does The Armstrong Lie pick up speed.
3. Gibney gives the truth as full an airing as seems humanly possible, given that the subject is a world-class liar.
4. A well made film about one messed up dude.
5. While there are no new explosive revelations in The Armstrong Lie - and, at just over two hours, it's a touch too long - it's still a mesmerizing cautionary tale.
6. The movie captures a very modern approach to public scandal: Confession without remorse.
7. The bitterest parts of Gibney's movie are the interviews with the former teammates who were caught doping, and whom Armstrong, when he was still officially clean, viciously turned on.
8. Gibney took a film that was supposed to be about the resurrection of a sports star and turned it into an epic indictment of one man and an entire culture. The lesson is obvious: Never throw anything out.
9. There's a palpable sense of sadness, more than outrage or betrayal, to the film.
10. This scalding documentary follows along the lines of classic Greek tragedy,revealing how the fear of humiliation is one of the greatest motivators in human behavior.

Here is the consensus of critics:Smartly constructed and scathingly sharp, The Armstrong Lie presents an effective indictment of its unscrupulous subject -- as well as the sports culture that spawned him.

Here are some reviews for a movie: 1. For all of the talk about its legendary car chase through the streets of San Francisco -- and it is justified -- Bullitt idles far tool long in the slow lane when it should be blowing by the minivans and the carpoolers.
2. Classic McQueen. He's a badass and that car chase still holds up.
3. It's more than just that great car chase. The whole film is gritty, down-to-earth and enjoyable.
4. Steve McQueen is nevertheless very impressive in his role.
5. If there is any one of his many movie roles that best exemplifies the McQueen persona, it would have to be this one.
6. McQueen is great in Bullitt, and the movie is great, because director Peter Yates understands the McQueen image and works within it. He winds up with about the best action movie of recent years.
7. Stlick, stylish and ineffably cool, this was perhaps McQueen's defining role. Also mention goes to the uncreditied star of the film; San Francisco.
8. Even though the story almost makes no sense and the Oscar-winning editing has several illogical cuts, Bullitt is an exquisitely satisfying motion picture, particularly if there is still an adolescent boy lodged somewhere in your psyche.
9. A terrific movie, just right for Steve McQueen -- fast, well acted, written the way people talk.
10. One of the cinema's very best car-chase sequences -- set amid the hilly, windy San Francisco streets -- caps this quintessential Steve McQueen policier.

Here is the consensus of critics:
Answer: Steve McQueen is cool as ice in this thrilling police procedural that also happens to contain the arguably greatest car chase ever.