Q: 1. Annie Hall expanded Woody Allen's canvas to incorporate real wisdom alongside the punchlines.
2. Woody Allen's classic comedy has one opening scene after another, never seeming to run short of prologues and prefaces.
3. In Annie Hall, Allen again writes, directs and stars with Diane Keaton in a remarkable recreation of a spent love affair, which is both sad and hysterically funny.
4. Many things mark Annie Hall's place in cinema history, but none of them are the reason you should see this movie. That would be the humour, poignancy and acute observation contained in each and every frame.
5. A funny film, and it's fresh even today, though it's not a knee-slapper. Rather, it's a shrug-your-shoulder-and-grin kind of movie.
6. Seeing it again for the first time in many years, I'm struck by how perfect it seems.
7. Personal as the story he is telling may be, what separates this film from Allen's own past work and most other recent comedy is its general believability.
8. Funny movie about relationships. Not for kids.
9. Woody Allen's best work.
10. A touching and hilarious love story that is Allen's most three-dimensional film to date.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Filled with poignant performances and devastating humor, Annie Hall represents a quantum leap for Woody Allen and remains an American classic.
1. Downright hilarious in places ? though I don?t think that?s intentional, because it?s also dull and cliché-ridden.
2. It's too mild-mannered for those who relish horror pictures and too gory and plotless and chatty for everyone else.
3. Just another Wes Craven kills kids running around in the woods movie.
4. the most awful kind of entertainment exploitation in that everything is set up to abuse the audience, not the characters
5. The picture is directed with such a loose, slack hand that you'd think Craven had never directed a slasher-thriller before: I didn't jump once; I never even felt vaguely scared or creeped out.
6. It's your money that's at greater stake with this subpar horror entry in barely noticeable 3D.
7. This dumb, derivative teen slasher movie would be uninspiring coming from any writer-director, let alone one with several genre classics under his belt.
8. All might be good for a flask-to-the-theater laugh, if not for the unconscionable price gouging.
9. Wes Craven's first new movie in five years is a brainless, joyless, and yes, you might even say, soulless teen slasher.
10. It's good, theoretically at least, to have Craven back. But why come back for this?
Consensus: Dull, joyless, and formulaic, My Soul to Take suggests writer/director Wes Craven ended his five-year filmmaking hiatus too soon.
Q: 1. This mixture of comedy and super-agent spectacle works well at first. But when Schwarzenegger's family and working worlds link up -- an inevitable development -- the plot becomes increasingly ridiculous and overwrought.
2. [A] film that definitely doesn't deserve its bad reputation.
3. Despite some frustrating flaws, the thrills, spills and laughs are there.
4. This is an excellent picture.
5. However high your ranking on the culture scale, I defy you to watch this and leave the theatre without a whistled 'Wow' followed by a grudging 'That's entertainment.'
6. On the basis of stunts, special effects and pure action, it delivers sensationally.
7. This is a mindless situation comedy crossed with an even more mindless action film aimed at an undemanding audience.
8. Its long detour into an unnecessary and unpleasant sub-plot left me with a very bad taste in my mouth.
9. Once you get past the stunning special effects and the mind-numbing stuntwork, there's not all that much there.
10. This movie symbolises everything that is wrong with the film industry.
Based on these individual reviews, what is the critic consensus?

A: Consensus: If it doesn't reach the heights of director James Cameron's and star Arnold Schwarzenegger's previous collaborations, True Lies still packs enough action and humor into its sometimes absurd plot to entertain.
1. A character-driven drama that too often and bores you with its sluggish pace and poor editing. James Gandolfini and Melissa Leo anchor the film in raw, well-nuanced performances.
2. Tries to turn an inherently melodramatic tale into a serious study of middle-class grief, but doesn't succeed despite the acting talent on hand.
3. Produced under the Scott Free banner (Ridley and Tony Scott, producers), it's surprising that such Hollywood heavyweights would choose a script that's so woefully bare.
4. It's surprising in the lovely notes it consistently hits, and the simmering sweetness it achieves, despite the dark, seedy framework propping it up
5. The overload of soapsuds (and the production's excessive attention to on-location squalor) at times overwhelms the earnest performances of the three very good lead actors...
6. Welcome to the Rileys has some similarities to The Blind Side, as both films explore a similar scenario, but Welcome to the Rileys is more complex, less conservative, less offensive and an overall far superior film.
7. This is a movie where the drama is shaped more by quiet conversations than by noisy confrontations -- kind of the way things happen in real life.
8. Welcome To The Rileys is way too humorless for a film in which Stewart repeatedly refers to her genitals as her "cooter."
9. The story line invites such horselaughs that writer Ken Hixon and director Jake Scott handle it too gingerly, as if at the end of tongs.
10. The welcome mat on this film is very soggy indeed.
Consensus: Despite earnest performances, Welcome to the Rileys cannot escape its belabored over-sentimentality and sluggish delivery.
Q: 1. At the heart is a breathtaking performance by South African actor Presley Chweneyagae.
2. The violence makes Tsotsi's character a little more challenging to embrace and makes the transformation tougher to achieve, but it's more rewarding in the long run.
3. This remarkable movie means to shake you, and boy does it ever.
4. The story's lame, condesending objective dictates that bringing-up-baby histrionics will melt the savage beast.
5. While some of the scenes are a bit melodramatic ... [Director] Hood does a terrific job drawing the audience into Tsotsi's world of violence, anger and, eventually, growth and maturation.
6. ...a thug-rehabilitation movie that goes to exaggerated lengths to redeem its criminal antihero.
7. What a simple and yet profound story this is.
8. Tsotsi does more than illustrate African hardships. It's a powerful appeal for us to appreciate the value of every human life, from infants to hardened of criminals.
9. If Hood's direction were anything more than blatantly cruel and crushingly obvious -- or if Chweneyagae were capable of more than one expression -- the film might have a reason for existing.
10. A mixture of thrilling documentary-style realism and Hollywood hokum, Tsotsi leaves you all but tasting the orange dust of Joburg's shantytowns and moved by the harrowing journey Tsotsi (Presley Chweneyagae) is forced to take.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Chweneyagae's powerful performance carries this simple yet searing tale of a shantytown teenager's redemption.