Q: 1. (Director) Nichols creates the kind of quiet malevolence that Roman Polanski used to excel at.
2. There's a strong, unsettling sense of disease that runs through Take Shelter, the best drama of the year so far.
3. Shannon wonderfully modulates Nichols' portrait of a man whose mind and life seem to unravel before our eyes.
4. On rare occasions, a movie comes along that does genuine honor to Alfred Hitchcock. Take Shelter is such a movie. It could be subtitled "Take Shelter with Hitch."
5. Are his dreams a sign of things to come or are they simply the creation of an individual who is teetering on the brink of insanity?
6. In an era of empty entertainments, "Take Shelter" is built to last.
7. Take Shelter is a deeply unsettling movie.
8. Michael Shannon's spectacular performance grounds Take Shelter with a haunting realism.
9. Life is a double-edged sword. Be careful how you hold it.
10. Shannon is astounding, playing a good man pushed to the brink of sanity, maybe beyond. He portrays a sense of quiet desperation -- a feeling recognizable to many.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Michael Shannon gives a powerhouse performance and the purposefully subtle filmmaking creates a perfect blend of drama, terror, and dread.
1. It doesn't seem as fresh as Office Space or likely to achieve the same sort of iconic status, but there are enough laughs here to justify the time.
2. The basic material is here for a good film, but it doesn't quite achieve that threshold. Fortunately, the film has some interesting characters.
3. It seems that Judge is a little embarrassed by his script, which he shouldn't be. His direction of the movie, however, doesn't match the absurdity of the situations Joel finds himself in.
4. mocks idiots, hypocrites, and all the other clueless denizens of life who make it difficult for everyone else, but the bile is balanced with affection for the ordinary people who make the world turn
5. As with virtually all of Judge's work, Extract is based on the idea that most people are total, blithering idiots. It's all very off-beat, but a top-flight comedic cast makes it work
6. Tastes good until it eventually loses its flavoring.
7. Despite the huge farcical situations and comedy genius cast, Extract is not so much riproarious as thoughtful and true %u2013 not unlike Judge's animated series King of the Hill
8. Smart and affable, but not laugh-out-loud funny. A comedy shouldn't be as grounded as this. Since it's coming from Mike Judge, you expect it to fly.
9. It's a raunchy social commentary that will undoubtedly do even better when it's released on video, thereby repeating the pattern of 'Office Space.'
10. Could not survive the bland dialogue and what a misuse of Kristen Wiig.
Consensus: Extract has some very funny moments and several fine performances, but the film feels slighter and more uneven than Mike Judge's previous work.
Q: 1. Throughout this nerve-wracking journey, Argento's sly gift is to strike when you least expect it.
2. As an appetizer to the thoroughly bizarre world of Italian horror, Suspiria is the perfect antipasto.
3. The beauty of this film is hypnotic. It draws the viewer in, casting a spell of its own. It is utterly bewitching.
4. Argento's skilful use of unsettling, intense colour and stunning set designs adequately obscure the film's numerous structural flaws.
5. One of the most important horror films ever made
6. A strange combination of the art house and the slaughterhouse, it may be too violent for the typical cineaste and too contrived for the typical gore-hound. Yet somehow Argento impressively straddles both worlds, offering a unique vision ...
7. an extravagantly stylised Danse Macabre... a surreally demented fairytale, and one of very few films that occupies the no-man's-land between charnel house and arthouse.
8. An eye-popping maelstrom of visual excess.
9. A direусo de arte e fotografia impecрveis, associadas Я angustiante trilha e Я direусo segura de Argento, compensam as mрs atuaушes e o roteirofraco, criando uma experiЖncia intensa e incЗmoda.
10. A movie that makes sense only to the eye (and even then . . .).
Based on these individual reviews, what is the critic consensus?

A: Consensus: The blood pours freely in Argento's classic Suspiria, a giallo horror as grandiose and glossy as it is gory.
Q: 1. Together, Miller, Kuras and the actresses make Personal Velocity into an intricate, intimate and intelligent journey.
2. Personal Velocity seems tailor-made for art-house audiences. It still cradles that short-story essence...but takes it to a place that stretches just beyond the page.
3. ...works like a short story, or even poetry, in that it shifts our emotional center of gravity through a finely calibrated vernacular of gesture and language.
4. Comes across like an audio book to which photos have been rather unnecessarily added.
5. Confuses its message with an ultimate desire to please, and contorting itself into an idea of expectation is the last thing any of these three actresses, nor their characters, deserve.
6. The acting is uniformly good by the three women stars, Kyra Sedgwick, Parker Posey, and Fairuza Balk.
7. The whole comes across more like a Lifetime special than an insightful examination of the women's lives.
8. The whole film has this sneaky feel to it %u2013 as if the director is trying to dupe the viewer into taking it all as Very Important simply because the movie is ugly to look at and not a Hollywood product.
9. A stuffy bore, filled with amateurish psychological 'insights' that make it seem like a more-ambitious -- and infinitely more pretentious -- Lifetime channel cable movie.
10. None of the three stories has much narrative breadth ... but there is depth.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Uneven, but a keenly observed and well-acted film about three women's lives.