Question: Q: 1. FD2, despite some imaginative fatalities, is less a movie than a slick video game.
2. A gory good show for fans of R-rated horror mayhem.
3. They've run the idea to staleness with only two films.
4. The movie mandates complete gullibility and vacuous attention in order to work on any level.
5. It's a soulless affair that has little of the panache and intelligence of 2000's Final Destination.
6. Bloody, graceless and surprisingly effective.
7. It's a race to find out who'll get into number three and this is good enough to rate one.
8. The carnage should leave horror fans laughing, groaning and squirming in their seats.
9. Opens with a horrific traffic accident, which seems apt since what follows is the cinematic equivalent of rubbernecking.
10. Suffers from the same rancid dialogue and acting problems as the original but with a much funnier pulse.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This sequel is little more than an excuse to stage elaborate, gory scenes of characters getting killed off.
1. Casé gives one of the warmest, most lovable performances of the year; the film's real climax comes when she simply wades into a nearly empty swimming pool.
2. The story about a young woman coming from "the outside" and entering a particular milieu and shaking things up is not entirely new, but there is enough skill here to make this film worth viewing.
3. Muylaert captures the unspoken class distinctions that would, on the one hand, make Val a trusted honorary member of the family while still relegating her to "the help."
4. The Second Mother is a smart yet subtle portrait of the incalculable riches of a good relationship between parents and children.
5. Anna Muylaert's observations on family relations and invisible-but-firm class barriers are always acute, even if she ultimately mines them for hope rather than horror.
6. The Second Mother isn't just a backdrop for Casé's bravura acting, nor for the equally well-observed performances of the whole ensemble cast. Muylaert's camera -- the cinematography is by Barbara Alvarez --moves with fluid expressiveness.
7. It smartly uses its little moments of humiliation to open our eyes to a world of delicate, but deep, injustice.
8. ...a piercing examination of the curious Brazilian practice of upper class surrogate motherhood.
9. The terrifically effective premise allows for great humour and pin-sharp yet light-touch social commentary, and Val is a character to cherish.
10. The main source of power in "The Second Mother" is found in effortless skips between character study, family drama, and silent socioeconomic warfare. The final result is a gleaming cinematic treasure as heartwarming as the film's final reassuring smile.
Consensus: The Second Mother's compelling characters serve an artfully drawn, thought-provoking story that's beautifully brought to life by a talented cast.
Q: 1. One of the great unsayable truths about the American dream is that it is a bit of a Ponzi scheme ... our system admits a glimmer of hope that anyone, no matter how lowborn, can rise to the top.
2. [E]nds up an ever less slightly ungenerous look at the .01 percent than it might have been... But this is still a brutal film from many angles.
3. Documentaries are rarely as hilarious as this one. Well, the first half of it at least
4. a repetitive exercise in schadenfreude, and the Siegels don't do much to alter that... The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.
5. Greenfield's film is bathed in Florida sunshine, adding to the sensation that we're watching Lifestyles of the Rich and Famous with a Marxist punchline.
6. She epitomises a Western culture struggling to wean itself off debt.
7. [Siegel] is now suing Greenfield for "misrepresentation". Well, I know whose side I'm on.
8. Extremely funny and revealing ...
9. [Siegel] ultimately emerges as someone who belongs more in The Little House on the Prairie: ever cheerful, and triumphantly unimpeachable.
10. Never has grotesque wealth looked so unenviable, or its removal been so entertaining, as in this garishly watchable riches-to-rags documentary ...
Based on these individual reviews, what is the critic consensus?

A: Consensus: The Queen of Versailles is a timely, engaging, and richly drawn portrait of the American Dream improbably composed of equal parts compassion and schadenfreude.
1. One of the summer's more pleasant surprises.
2. Brendan gets hit in the face a lot, that's good for a few laughs but you've already seen it in the trailer.
3. Dudley is merely a dud.
4. Barely gets a plus for comedy, but Brendan Fraser is always fun to see.
5. '90s live-action remake of '60s cartoon has iffy humor.
6. Surprisingly pleasant.
7. The fanciful associations and bad jokes are more often stupid than silly, making all the spectacle and contrived dance numbers seem a colossal waste.
8. Why in the wide, wide, world of sports would anybody make a big-budget feature film from a decades-old, animated cartoon parody of Nelson Eddy/Jeanette MacDonald movies?
9. Only for little kids or anyone with no discerning taste.
10. There's not one joke, one slapstick moment, one innuendo that's funny.
Consensus: Gags aren't that funny.
Q: 1. 'Visceral, salvaje, visualmente arrebatadora y con una historia que atrapa, Pandillas de Nueva York es un nuevo triunfo en la carrera de uno de los grandes genios incomprendidos del cine.'
2. A great big, sprawling mess of a movie that depicts a melting pot not of hopes and dreams, but of vicious differences that clash and butt up against one another.
3. As you watch it unfold, you find yourself understanding exactly why the man behind the camera remains such a significant influence in modern cinema. This isn't just a movie you watch, after all, but one you experience.
4. An ironic, emotional, gory revision of the American Experiment, marred by narrative problems but sufficiently awesome in its ambitious scale and intentions to rate as a must-see.
5. Martin Scorsese cria um espetáculo visual que năo possui alma - um filme esteticamente belo, mas emocionalmente frio.
6. Gangs of NY es enorme, no sólo en su colosal y ambiciosa producción, sino también en su épica y en la brillante incorporación de elementos clásicos de la narrativa universal.
7. Scorsese's New York tale is a curiously cramped epic, roaring with blood and thunder -- but with nothing to say.
8. Welcome as it is to see Scorsese (somewhat) back in the groove, it's even more welcome to see Day-Lewis burning up the screen once again after a five-year absence.
9. A lavish folly that suffers from an odd downscale effect.
10. A work of staggering ambition, grandeur and terrible beauty. In a word: majestic.
Based on these individual reviews, what is the critic consensus?

A:
Answer: Consensus: Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance.