Q: 1. The two lead performances by Dahlstroem and Liljeberg are entirely naturalistic.
2. High school, small town, teenagers in hormone hell -- or is that heaven?
3. It's an awkward, unapologetic, unconventional -- and ultimately winning -- look at first love, one that unabashedly portrays the complications and confusion that result from those first crushes and rushes of attraction and passion.
4. It's just an incredibly insightful character drama about true, awkward, beautiful first love, and it's all the better for it. Oh, and that last shot is as cute as it gets.
5. Liljeberg is a talented young actress, perceptively playing all of Agnes's moods.
6. It's worth going out of your way to witness one of the year's best films.
7. El título original (en los EUA se exhibió bajo el nombre de Show Me Love) es llamativo: Fucking Ĺmĺl no sólo sugiere indirectamente el sexo ...
8. ...a warm coming-of-age story that happens to be a coming-out story.
9. It tells this story with complexity and emotional truth, something that strikes me as a rarity in the genre.
10. A completely charming reality-based romantic fantasy, both sweet-natured and sympathetic.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A naturalistic depiction of teenage life, Show Me Love has a charming, authentic feel.
1. Slides instantly into the realm of the forgettable.
2. I kept looking for the silhouettes of Joel, Tom Servo and Crow from the dearly-departed MST3K to appear in the bottom right corner of the screen.
3. A rather dull zombie movie with pretensions of being a police drama.
4. There is camp comedy, although it is not clear how much of the silly stuff is intentional and how much is the result of the inept dialogue and abysmal acting.
5. Occasionally veering into that so-bad-it's-good category ... mostly Ghosts of Mars is just so bad.
6. All basic stuff, and yet Carpenter brings pacing and style to it, and Natasha Henstridge provides a cool-headed center.
7. A laughable gorefest and a leading contender for the title Worst Film of the Year.
8. The one intriguing thing about John Carpenter's Ghosts of Mars is how such a dreadful screenplay could have made it onto celluloid.
9. Arguably the horror/sci-fi director's most routine movie.
10. Sci-fi at its worst: bad enough to be funny, yet loud and obnoxious enough that it can't even be enjoyed as unintentional comedy.
Consensus: John Carpenter's Ghosts of Mars is not one of Carpenter's better movies, filled as it is with bad dialogue, bad acting, confusing flashbacks, and scenes that are more campy than scary.
Q: 1. 88 Minutes should have been 86ed.
2. Pacino feels like a bankable source to disguise mediocrity but a dud is a dud and Avnet is wholly indifferent
3. At times it's almost like Pacino has been lured into a Bobby Bowfinger production except the best blackmail material around to get his permission for release is 88 Minutes itself.
4. The only mystery here is why Pacino would have chosen to lend his talents to a project of an artistic level that most people would more readily associate with the likes of Michael Pare about ten years ago or Robert De Niro today.
5. If only the film actually ran 88 minutes instead of 108, the many glaring logic loopholes might have whizzed by without notice. But like a bad apple, that extra 20 minutes of wasted film has rotted the rest.
6. A skilled director could take the same exact script from 88 Minutes, change maybe three or four lines, and shoot it as a spoof movie. It's that close to self-parody.
7. While the actual ending does give audiences a reason to cheer, it's the final fade out that will make viewers the happiest. It means this tepid terror is finally over.
8. ...it is mildly entertaining to see Pacino in a role where he has obviously been encouraged to turn it up, to become a wild-eyed, roaring self-parody
9. Even a viewer with incredibly low expectations will be staggered by its badness.
10. 88 Minutes is a guilty pleasure, which shouldn't be confused with serious moviemaking.
Based on these individual reviews, what is the critic consensus?

A: Consensus: 88 Minutes is a shockingly inept psychological thriller that expertly squanders the talent at hand.
1. Uncle Boonmee Who Can Recall His Past Lives is boring and completely fails to engage on any level. Simply put, it's much too strange for its own good.
2. "Uncle Boonmee" is a pleasant enough experience, but it doesn't say anything and is instead content to merely project the sort of neo-Orientalism of which festival programmers and art-house patrons are so enamored.
3. Weerasethakul's sixth feature is a typically slowburning experience of art cinema that doesn't feature a single spoken word until eight minutes in and is as equally enchanting as it is infuriating.
4. A film about recurrent visions and round-trip journeys: a movie not just about previous incarnations but about the possibilities of multiple and diverging paths into the future and out of the past
5. Uncle Boonmee is a film to be experienced for its immediacy and thought upon for its ineffability.
6. Uncle Boonmee is about ... the moments when our worlds expand; when our outlines turn out to be more porous than we thought.
7. One to absorb, to wonder at, and, perhaps most significantly, to give exposure to lines of thinking that one might not be familiar with.
8. Fits neatly into Weerasethakul's cinema-shaking oeuvre of beautiful experimentation. [Blu-ray]
9. Weerasethakul's sincerity is evident, though the film's meditative pace and vague philosophical undertones will not be for everyone.
10. Beguiling, frequently baffling and frustrating.
Consensus: Languorous and deeply enigmatic, Palme d'Or winner Uncle Boonmee represents an original take on the ghosts that haunt us.
Q: 1. A likable, if sentimental movie.
2. The drama is a bit episodic, but the performances are nuanced, and there's a lot of incisive observation about family dynamics, as well as bonus tips on beekeeping.
3. The plot may be gossamer-thin but the characters are sturdily drawn and life on the farm engrossingly evoked.
4. A beguilingly odd little coming-of-age tale set on the isolated farmstead of a family of beekeepers.
5. Aiming to capture a young teen's sense of belonging in a family determined to steer its own course, the pic has intermittent rewards yet isn't weighty enough.
6. Rohrwacher creates a moving, unsentimental portrait of a dying way of life.
7. The episodic storytelling style can seem haphazard but the writer-director Alice Rohrwacher succeeds wonderfully well in capturing the richness of the kids' lives in their own remote and often brutal world.
8. Wise beyond its years, like the teenage protag Gelsomina, Le Meraviglie (The Wonders) is a wistful but no-tears swan song recounting the disappearance of traditional rural lifestyle in Italy.
9. Like a rural Fellini, Rohrwacher mixes the mundane with the absurd to create a sometimes fabulous tale that always feels palpably real.
10. Without any of the self-importance, maudlin sentimentality or winking reflexivity that characterises most coming-of-age tales, Alice Rohrwacher's second feature is a patient argument for, and quiet toast to, a rapidly disappearing way of life.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: The Wonders offers a charming coming-of-age tale that doubles as a quietly effective tribute to a vanishing way of life.