Q: 1. Playing For Keeps unfolds like a metaphorical deconstruction of his charms: a meandering, formulaic look at a former sports star confronted by an uncertain future as he continues to exploit the superficial things the world still seems to want from him.
2. Smarmy. Dopey. Sloppy. Lazy. Creepy. Tone-deaf. Predictable. Embarrassing. Lousy.
3. Like undercooked leftovers, it makes you wish they had spent a little more time getting some heat into it.
4. It won't be up for any Oscars, nor will it score points for originality, but it's harmless enough fare for its target audience.
5. Another day at the Romantic Comedy Factory: '...Pull me down a Gerard Butler and a Jessica Biel, will ya?'
6. Ho-hum sports romcom lacks both laughs and chemistry.
7. It could be just the kind of pleasant surprise that leaves your inner cynic at a momentary loss for words.
8. I'll long be haunted by Dennis Quaid's manic performance as a palm-greasing dad who seems to be under the influence of bath salts ...
9. Playing for Keeps takes place in a tonally incoherent universe, constantly shifting between rom-com farce and mawkish family drama.
10. As the old saying goes, 'Well, that's two hours of my life I'll never get back.' Time is precious. Don't waste yours on a film like this. (Full Content Review for Parents also available)
Based on these individual reviews, what is the critic consensus?

A: Consensus: Witless, unfocused, and arguably misogynistic, Playing for Keeps is a dispiriting, lowest-common-denominator Hollywood rom-com.
1. Both epic and intimate, taking on a large cast of characters while focusing quietly on the details of their lives.
2. Writer-director Barry Levinson brings it all back home to Baltimore and delivers his funniest and most heartfelt film since Diner.
3. Nostalgia is a tricky thing, but Levinson manages to strike just the right balance of humor, affection, and candor.
4. Lovingly crafted.
5. A grand slam!
6. A pretty brave and ambitious feat.
7. Excellent re-creation of the clothing and landmarks of Baltimore in the 1950s.
8. Liberty Heights is worth a look, with its rich characters and dialogue, and its gorgeous cinematography by Chris Doyle.
9. Offers a deeper immersion in that old '50s feeling than any other Hollywood film in recent memory.
10. Coming to terms with "the other" (whether stranger, enemy, or alien) is as critical to the development of soul now as it was in the 1950s.
Consensus: A moving film with moments of humor, Liberty Heights succeeds in capturing the feel of the '50s with great performances and sensitive direction.
Q: 1. It would have been nice to have some heat in the kitchen.
2. A sumptuous celebration of the joy of food. Scene after scene is punctuated with tantalizing glimpses of haut-cuisine delicacies and mouth-watering talk of food. My stomach growled all through the movie.
3. No amount of chemistry or comedy could make what's always bound to happen next seem any less predictable.
4. All involved, in fact, hit their marks on the way to the picture's warm, fuzzy, complacent denouement.
5. No Reservations is diverting because of all the gleaming food on display. For those of us who can't stand the heat and so stay out of the kitchen, the intricate preparation of quail with truffle sauce is a wonder to behold.
6. Carol Fuchs's silly, mushy script has her character swerve without warning between obtuse rigidity and sweet normality.
7. Alas, not even Eckhart and Breslin can get Zeta-Jones to simmer.
8. One of the few movies out there that doesn't stoop to low-brow humor and bad-taste elements. The film's humor and drama is sweeter and comes from believable character and story development.
9. No Reservations succeeds as well as it does (kinda sorta) by virtue of Zeta-Jones' performance
10. The movie gives a modest level of pleasure, mainly because of Stuart Dryburgh's handsome, varied cinematography and the performances of the leads.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This romantic comedy may look good on paper, but it's too predictable and melancholy for the genre.
1. What really carries the movie is our identification with a main character who can't quite put his finger on what's missing from his life.
2. The filmmakers have taken a bet that an unsexy, unpretty and unconventional movie about bank robbery and gambling can be as captivating as its flashier mainstream counterparts, and they've won.
3. As channeled by the extraordinary Hoffman, Dan Mahowny is less a freak than a nerve-deadened Everyman with the courage to search for something that makes him feel alive.
4. There could have been life in the material, but no one involved save [John] Hurt and [Chris} Collins seems to have taken the time to find it.
5. An odd little acting exercise for Philip Seymour Hoffman and John Hurt, two of the best actors of their respective generations.
6. Effectively shows the way gambling can narrow the lens through which gamblers see the world, creating a view that's absurdly myopic.
7. Collapses into a public service announcement on gambling.
8. It's just one of many Hoffman portraits that are painfully real and brilliantly textured.
9. Add another movie to the list of those in which Philip Seymour Hoffman plays a pasty, schlubby, mouth-breathing loser in a suit so cheap it shines -- and put it at or near the top.
10. Hoffman's soft-spoken, ultra-low-key demeanor is a perfect fit for Mahowny.
Consensus: This story of addiction may lack the typical flash and glamour, but Hoffman makes Mahowny compelling.
Q: 1. It's hard to imagine anybody ever being "in the mood" to view a movie as harrowing and painful as The Grey Zone, but it's equally hard to imagine anybody being able to tear their eyes away from the screen once it's started.
2. An intelligent and deeply felt work about impossible, irrevocable choices and the price of making them.
3. The Grey Zone gives life and meaning to an event that is little more than a footnote in history books.
4. So many incredibly raw, wrenching--and, crucially, unsparingly unsentimental--scenes and moments that it's impossible to not be haunted by the film.
5. This is a masterpiece and yet another chapter of the dark period called: "The Holocaust."
6. Filme trágico, complexo, difícil - e que pode ser assistido em sessăo dupla com O Pianista.
7. It unsuccessfully tries to bridge the gap between pathos and establishing a sense of realism, coming across as forced. Overweight prisoners and Harvey Keitel's German accent distract from the mood of the film.
8. Unlike Schindler's List, ... this uses history to remind us of the tenuousness of our own morality, to remind us that ... most of us will never have to know what we might be capable of in certain circumstances.
9. Roman Polanski's The Pianist may have been showered with Oscar glory ... but the best Holocaust film of 2002 was actually The Grey Zone.
10. Hauntingly unforgettable.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: A grim and devastating tale of the Holocaust.