Q: 1. The movie is stingy with information and surprisingly generous with humor (which provides realism, and relief from the sadness).
2. Rabbit Hole, directed with grace and surprising humor by John Cameron Mitchell, is a delicate tale that shares a great deal of the hurt of Robert Redford's Ordinary People.
3. For all its sympathy and intelligence, Rabbit Hole is ultimately too safe an experience for such a free-form tragedy.
4. One of the best films of 2010, Rabbit Hole features a devastating performance by Nicole Kidman that would deserve every Best Actress prize on tap were it not for the presence of Black Swan's Natalie Portman on the awards scene.
5. John Cameron Mitchell directed, making an impressive detour in style and subject matter after his flamboyant Shortbus and Hedwig and the Angry Inch.
6. Mitchell keeps the direction simple and well-behaved, usually just pointing the camera at the speaker, but you can see why this topic appealed to him: All three of his films are about people in pain reaching (or lashing) out in different ways.
7. If you'd like to wallow in the exquisite suffering of the upper middle classes for 90 minutes this might be just the film for you.
8. As heavy, stressful, relentlessly sad dramas go, this one goes quite well.
9. Grief may be the topic under examination, but humor -- incisive, observant and warm -- is the tool with which it's dissected in Rabbit Hole.
10. Although it is achingly sad, Rabbit Hole is not maudlin or depressing.
Based on these individual reviews, what is the critic consensus?

A: Consensus: It's often painful to watch, but Rabbit Hole's finely written script and convincing performances make it worth the effort.
1. If you are in the mood for leggy heroines blasting down zombie armies with absurdly large automatic weapons, the sequel to Resident Evil gives very good value for the money.
2. For a brand-new movie, it feels very dated.
3. Shines in comparison to other entries in the lamest current genre of film: videogame-based movies.
4. No one looking for nonstop violence, galloping gore, end-of- days-style hysteria or dogs slathered in barbecue sauce will come away disappointed.
5. Resident Evil: Apocalypse is the kind of movie that causes you to drink tequila until every brain cell in your head responsible for remembering the film is dead.
6. Plot and narrative? Minimal. Confrontations? Endless. Surprises? None.
7. Witt injects the film with plenty of razzle-dazzle on the visual side, but the pace deadens whenever the zombies are offscreen or the characters open their mouths long enough to do anything more than grunt.
8. There are a lot of "ewwwwww" moments.
9. Lightweight action entertainment.
10. Calamitously uninspired and borderline incoherent.
Consensus: Resident Evil: Apocalypse has lots of action, but not much in terms of plot or creativity.
Q: 1. Truly awful, monumentally inept, wholly unwatchable.
2. I'm not sure how well it speaks of a comedy if the funniest scenes come during the closing credits.
3. Fluff aimed at conservative Middle America, a cynical go-with-the-demographic-trends movie that's shallow and stupid, but featuring big names guaranteeing box office success.
4. This isn't a movie with any meaningful insights to share about the heartfelt concerns of the over-forty set, but is rather an ill-conceived, "coming-of-age" style misadventure which could just as easily have revolved around some recent high school grads.
5. Perhaps I was in a good mood, perhaps my expectations were so rock bottom, but hell, I didn't hate it...
6. Disneyfied Easy Rider for the suburban set.
7. I can only assume a bike wreck is much more gruesome than a car accident. Luckily, I have never seen one, but after watching Wild Hogs, I can imagine.
8. No.
9. Instead of opening up the throttle, Hogs ends up idling and spreading exhaust.
10. Becker is handy with a camera and totally knows where the film's bread is buttered, focusing all his energy and attention on his four stars.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Wild Hogs is a dreadful combination of fish-out-of-water jokes, slapstick, and lazy stereotypes.
1. As bossy and joyless as its title character.
2. Filled with an infectious love for the region's songs.
3. It allows McTeer to make another cherishable but not sappy portrait in her remarkable gallery of women.
4. The cast (which includes folk singer Iris Dement) is superb, and the music is its equal.
5. Begins with noble intentions before getting sidetracked by a sappy storyline.
6. Your enjoyment of the Songcatcher will pretty much depend on your predisposition to like it.
7. Perhaps too laden with messages for its own good, but it has many moments of musical beauty.
8. As captivating as it is earnest and off-beat.
9. Muddies the waters with a bogus villain and melodramatic subplots.
10. Made for the lowest common denominator.
Consensus: The story may be a bit too melodramatic, but great performances abound in Songcatcher. The real reason to see the movie, however, is the hypnotic music.
Q: 1. A sweet good-hearted romance, and the first real sign that both star and director were here to stay.
2. Overlong, but makes a comedic 'splash' anyway.
3. Splash may feature a heroine with fins, but it's mostly a standard love story, albeit one with some delightful new twists.
4. It's also very funny, thanks largely to Candy in the lecherous fat sidekick role, and a string of set pieces that show Hannah as, quite literally, a fish out of water.
5. ideal Sunday afternoon entertainment
6. The movie is cute, light, and fluffy, perhaps not the laugh-fest I had remembered but enough to get by.
7. Splash is probably the ultimate fish-out-of-water film, primarily because it literally features a fish out of water.
8. Splash is a light-hearted comedy directed by Ron Howard that sparkles here and there thanks to its fairy tale elements.
9. Very dated, but still fun
10. It's too bad the relentlessly conventional minds that made this movie couldn't have made the leap from sitcom to comedy.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A perfectly light, warmly funny romantic comedy that's kept afloat by Ron Howard's unobtrusive direction and charming performances from Tom Hanks and Daryl Hannah.
Q: 1. Equally earnest and unconvincing.
2. Evokes the intimacies of teenage girls with unusual delicacy, and Perabo's performance is a geyser of emotion.
3. Pool and Thompson have turned a tough-minded, solid narrative into a campy piece of kitsch that panders to teenage angst.
4. Boasts a blistering performance by emerging American star Piper Perabo.
5. Isn't it possible to be true to one's heart without self-destructing?
6. Pool is an assured director, not afraid to explore the darker side of adolescence with integrity.
7. Its treatment of the operatic highs and lows of young love and heartbreak feels right emotionally, even though the film tells its story rather awkwardly.
8. The full-throttle, almost Victorian Age hysteria overcomes Pool's usually dependable direction as well as her actors' performances.
9. Stirred within me memories of that season in adolescence when the heart leaps up in passionate idealism -- and inevitably mingles it with sexual desire.
10. Geez, where's Mrs. Garrett when you need her?
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Lost and Delirious becomes exactly that, as the film sinks into overwrought melodrama and cliched, obvious symbolism.