Q: 1. A deliciously evil black comedy that's sure to elicit lots of shameful giggles throughout.
2. Mini's First Time is delectably vulgar for 20 minutes or so, almost too bad to be true, but it soon loses its cheap-thrills appeal.
3. Mini is a wonderful character, and she's the villain you simply can't help but root for, watching the dominoes fall where they must, and lets these yuppies self-destruct.
4. Trashy but fun, Mini's First Time is like one of those paperback books you might take to the beach. You don't brag about having read it, but you enjoy every page.
5. Much of the film reeks of decadence and new money-the snazzy cars and clothes and the boxy, minimalist modern stone and glass interiors that are as cold as the characters themselves.
6. Touches fleetingly on an interesting phenomenon - namely, the manner in which a father's advances simultaneously disgust and enthrall his teenage stepdaughter.
7. A lethal joyride through the debauched lifestyles of L.A.'s glamour-industry elite.
8. Mini's First Time is a down-and-dirty exercise in depravity and debauchery; in other words, just the kind of plot that gets us to turn off the TV and head for the multiplex -- blue states and red states alike.
9. It doesn't help that first-time screenwriter/director Nick Guthe created such a superficial group of characters. Few, if any, seem believable or are interesting enough to care about.
10. The characters in Mini are played by fine performers (Alec Baldwin, Jeff Goldblum, Carrie-Anne Moss), but they're still one-note.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This black comedy wavers between sleaze and satire, without ever fully committing to either.
1. It never feels as if we're watching a brand-name cash-grab, but instead as if we're participating in an endlessly imaginative afternoon of play.
2. A wonderfully faithful throwback to the '60s animated features (and the original Ernest H. Shepard book illustrations that inspired the studio's watercolored, 2-D look) with a modest veneer of postmodern cleverness.
3. The animators tap our nostalgia for Pooh - the Charlie Brown of honey drippers - and for the gently homogenized whimsical flavor that was A.A. Milne gone Magic Kingdom.
4. If you are looking for a way to quickly bond with your younger kids, this truly is a wonderful hour of entertainment that will leave you smiling.
5. Imagine that, an entire motion picture built around the innate charms and feisty personalities of its cast of characters, without the need for bathroom humor or story padding. This movie is downright huggable.
6. This film has the lovingly crafted, storybook feeling that was once Disney's specialty.
7. The innocence and simplicity of Winnie the Pooh is refreshing in an era of star-powered, smart-mouthed animated spectacles.
8. A down-to-earth and whimsical screen interpretation of three A. A. Milne inspired tales about fear, friendship, and the importance of play.
9. Although this is an adaptation of the A.A. Milne tales first published in 1926, it unleashes an essential quality of dreaming -- and of cinema.
10. This is just 68 minutes of pure, hunny-covered satisfaction.
Consensus: Short, nostalgic, and gently whimsical, Winnie the Pooh offers young audiences -- and their parents -- a sweetly traditional family treat.
Q: 1. ...a very savvy send up of the way we perceive celebrities as vapid and self-involved ciphers who are so often flattered and coddled that they come to accept applause as their due.
2. Enjoyable, time-killing piece of throwaway Friday-night pap... It's broad, stupid fun that, against all odds, ends up coagulating into an actual story with a point.
3. At its best it's a film about people getting lost in the fiction of their own creations.
4. If your tolerance for druggy banter and puerile sex gags is low then the idea of facing Armageddon with Rogen and his chums will probably strike you as hell.
5. If Fast and Furious 6 was stupid in the bad way, This is the End is stupid in the best and funniest way.
6. If you're familiar with their previous films, you'll be laughing often and laughing loudly.
7. It's a giant Hollywood in-joke, but one that invites you to share in the laughter.
8. An elaborate in-joke and everyone's in on the gag
9. Near-the-knuckle comedy that proves self-indulgent laughs, when done right, can be hilarious.
10. One of the funniest films of the year so far.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Energetic, self-deprecating performances and enough guffaw-inducing humor make up for the flaws in This Is the End loosely written script.
1. Enjoyable!
2. In its sneaky and offhanded way, The Thomas Crown Affair is a tribute to the art of stealing beauty.
3. Full of inventiveness and audience pleasing twists, the story ends on an especially satisfying high note.
4. Much better than this year's Entrapment, and a great time killer for the above 20 demographic.
5. Those expecting a caper flick will be bored to tears by the film's sluggish pace, and will be chilled by the icy chemistry between the stars.
6. No one will mistake this middle brow venture for an art film.
7. A full-throttle fantasy!
8. A slick thriller with sizzling chemistry between Russo and Brosnan.
9. Visually slick and wonderful to watch.
10. McTiernan's camerawork in particular, though, gives the film the style to pull off what could have been just another remake!
Consensus: Sleek, stylish, and painlessly diverting, The Thomas Crown Affair is a remake of uncommon charm.
Q: 1. Searing and somber, Unforgiven shatters every myth of the Wild West that Hollywood has ever thrown at us, and does it will an unmistakable ring of truth.
2. A rigorous deconstruction of both fictitious violence and Eastwood's own career as a trigger-happy 'hero.'
3. Vivid morality tale for adults about the difficulty we all have overcoming deeply ingrained
4. Clint Eastwood teve bons professores.
5. A classic Western for the ages.
6. Unforgiven (1992) is producer/director/star Clint Eastwood's own tribute to his legendary legacy in Sergio Leone's low-budget 'spaghetti' westerns,
7. Eastwood's meditation on age, repute, courage, heroism -- on all those burdens he has been carrying with such good grace for decades.
8. One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.
9. The action scenes have an almost documentary realism about them. Up until the final gun battle the film seems like a very authentic slice of the Old West.
10. The film at its heart is the first in a line of revisionist superhero movies.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: As both director and star, Clint Eastwood strips away decades of Hollywood varnish applied to the Wild West, and emerges with a series of harshly eloquent statements about the nature of violence.