Q: 1. One cannot dismiss a movie in which Andrews, that rare woman in the Hollywood garden of girls, reminds us that bell-like enunciation, unfailing politeness and proud posture are markers of self-respect accessible to all, whether commoners or royalty.
2. The flaws in The Princess Diaries' dated story line are numerous and irritating, its message about physical beauty is frustrating, and you might want to think twice before taking any curly-haired, eyeglass-wearing child to see it.
3. The story it tells is distressingly out of date, especially in its antique notions of what constitutes "success" for girls.
4. It's not grand cinema, but it is an enjoyable confection that will give some families an excuse to spend some time together.
5. The film is broad, cute, and calculated at every turn.
6. Not as sophisticated as Pretty Woman, but much more interesting than Bride.
7. The perfect film to take one's daughter to.
8. The film's San Francisco locale looks great, and the movie has random moments of sparkle. But it reeks of familiarity.
9. The film is fun, though it's easy to imagine a fresher, lighter version without Marshall's heavy showbiz hand.
10. A sloppy and convoluted film.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A charming, if familiar, makeover movie for young teenage girls.
1. Tonally different to its predecessor but just as engrossing.
2. The movie situates the audience directly in numerous lines of fire and automobile smash-ups, and dazzles with a low-key, yet gripping escape from a maximum security prison.
3. Though never less than entertaining, Killer Instinct and Public Enemy can't escape the shadow of the films they might have been. Both earn their place in the gangster canon. But not even Jacques Mesrine can escape the constraints of cinema.
4. This rambunctious and violent gangster drama more than sustains its lengthy running time, and makes one wonder why the Gallic gun-toter isn't better known internationally.
5. A triumphant conclusion to Jean-François Richet's exciting and enjoyable two-part story.
6. The second and final instalment of French gangster Jacques Mesrine's eventful life story arrives in cinemas, and is something of a let down.
7. While Killer Instinct is certainly worth checking out, this is far more satisfying than its predecessor, working as a self-contained satire on crime, media and celebrity.
8. Unlike its more lively predecessor, this is more interested in dissecting the criminal mindset.
9. All the world loves an outlaw. But how cheaply is that love won if all his partners and opponents have been drafted in from Dullsville-sur-Seine?
10. Vincent Cassel as Mesrine, keeps the plodding plot alive by delivering great one-liners with devilish charm. But only if the best bits had been squeezed into one movie could Jacques have been a thrill.
Consensus: Vincent Cassel is mesmerizing in the lead role. Even if it's less focused than its predecessor, it's more fun.
Q: 1. Devil deserves the attention it's likely to never receive.
2. Devil packs a lot of business into 80 brisk minutes but is shockingly short on fun or fright.
3. Its disposable nature belies a much better film lurking in there somewhere.
4. Devil is guaranteed to keep you on tenterhooks from beginning to end -- and without much gore.
5. [V]eers from the intensely banal... to the impossibly ludicrous...
6. There are a great many examples of "no" in DEVIL . . . No suspense. No scares. No originality. No fun. No reason to bestir oneself to see it.
7. A modestly entertaining chiller, one that momentarily halts M Night Shyamalan's career tailspin.
8. Who's the devil in the elevator? I vote for the guy who farts or the rugrat who considers the pressing of fifty buttons indistinguishable from play.
9. promising but stunted
10. It's a good concept with five strangers stuck in an elevator with bad things happening. Unfortunately, the devil is included every step of the way.
Based on these individual reviews, what is the critic consensus?

A: Consensus: It's better than many of the other films M. Night Shyamalan has been associated with, but Devil never gets more than a few low-budget thrills out of its fiendishly promising premise.
1. Robert Zemeckis finds eye-popping, high-tech new life in Dickens' hoary chestnut.
2. The best part of this Christmas Carol is the end, when the ugly animation metamorphoses back into the pages of a book.
3. Too much of the film is geared around 3-D wizardry. Unneeded sequences pop up for purely "wow" baiting.
4. A leaden and ugly mess that offers all the emotional and dramatic heft of an exceptionally garish Christmas window display.
5. It's eerie rather than wondrous.
6. It's not that Carrey fails in this serious guise, but, rather, it strips the comic actor of everything that makes him so special.
7. All I want for Christmas is for Robert Zemeckis to stop making mo-cap movies.
8. If you want realism, use actors. If you want animation, use your imagination. Sadly, imagination is missing from this technically impressive but emotionally inert film.
9. The utter freedom of camera movement evokes a visceral sense of buoyant jubilation that immediately connects us to the movie's setting.
10. It's visually stunning and all, but this is one version of A Christmas Carol that the world can probably live without. Humbug!
Consensus: Robert Zemeckis' 3-D animated take on the Dickens classic tries hard, but its dazzling special effects distract from an array of fine performances from Jim Carrey and Gary Oldman.
Q: 1. At best, a most watchable character study of lives that are more interesting than compelling.
2. Look at Me confirms what The Taste of Others suggested - that Jaoui has a sharp talent for cutting through the self-absorbed baloney of the French bourgeoisie.
3. The pleasure of the film, as in many French films from Renoir to Rohmer, is in the exactitude of observation, the accuracy of the portrait and the elegance of the writing.
4. Perhaps because she is also an actress, Jaoui understands motivation and interaction, and, with co-star Jean-Pierre Bacri, who plays the father, creates characters of substance and dimension out of scraps of human weakness.
5. Although little about the story seems surprising or spontaneous, the film's delights lie in its acute observation of the characters and their interactions.
6. Jaoui is something of a romantic, yes, but she's also a bit of a cynic - or at least an amused realist.
7. Flawlessly acted and meticulously observed.
8. Both an implicit protest against the blindness of power and an equally fervent protest against the acquiescence of men and women who are too weak or too compromised to stand up for themselves -- that is, most people.
9. But add up these formidable parts and all you get is still a distant story of wealthy and miserable French literati stewing in their own self-contempt.
10. ...does more than flatter its audience's sense of taste.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: An observant drama-comedy about self absorption.