1. Every time someone opens his or her mouth, out comes something asinine.
2. It's a bit of an oddball story, but surely there was a less plodding way to elaborate on it.
3. Delivers great-looking people and animals and action to stir your most youthful blood.
4. It's not as if we haven't seen movies like Hidalgo before -- the cowboy, the horse, the hat -- and yet there's something fresh about it all the same.
5. Although Hidalgo is frequently exciting and has been handsomely produced on a grand scale, you can't help but wonder what either Spielberg or Cameron could have done with this material.
6. A rousing popcorn adventure, old-fashioned and rather innocent.
7. It's an extremely handsome movie, and it has an abiding love of horses.
8. "Hidalgo" is a barely entertaining movie; what it does best is prove that Viggo Mortensen has legs
9. Suffers from weird shifts in tone, offensively outdated stereotypes, a cumbersome subplot -- and a supposedly fact-based story that bears only a nodding acquaintance with reality.
10. it's a flaccid affair, a movie that could stand to lose about 30 minutes right off the top.
Consensus: The scenery looks great, but this overstuffed horse story contains too much cheese.
Q: 1. It's not unfair to say that Duplicity is Michael Clayton on laughing gas. What's remarkable is that both movies pretty much work.
2. A stylish, engaging and complex thriller.
3. [Tony] Gilroy may have taken his time honing his voice as a filmmaker, but there's little doubt that he's got it down to a science at this point.
4. Duplicity is like sitting in a two-hour lecture from a college professor who reads straight from the text and never makes eye contact. Do you know there is an audience here?
5. This movie wasn't firing on all cylinders despite some of them being great cylinders.
6. ... Plays like a more sophisticated Ocean's Eleven, the extra heft coming from its corporate setting.
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8. 'Duplicity' is a cleverly charming and sophisticated film about treacherous people.
9. It won't receive the critical ballyhoo of his previous film, but where Gilroy's 'Michael Clayton' lacked imagination and surprise, 'Duplicity' is a fun, witty romp.
10. When it comes to spy thrillers, Tony Gilroy knows the game.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Duplicity is well-crafted, smart, and often funny, but it's mostly more cerebral than visceral and features far too many plot twists.
1. Certainly the first 30 minutes of this film are among the most hilarious first 30 minutes of any film. Pity it couldn't last.
2. Diehards will rejoice, while haters will probably not be converted.
3. Absolutely hilarious ... at first. Then the story kicks in.
4. Inspired jokes run neck-and-neck with flat ones. Still, the faux 'instructive' tone (full of ostensible life lessons that couldn't be more amoral) and rack of offbeat characterizations keeps things diverting.
5. At once wholly silly and delectably bizarre.
6. like that After School Special some of us were secretly hoping would happen one day . . where it all goes horribly wrong in delightfully interesting ways instead of sticking to the moral high ground with a prissy and predictable moral lesson to be learned
7. If you loved Amy Sedaris before in a golfer-lady wig and inbred chump's grin, you'll maybe love her again here, while wishing she had another TV-episode-size venue for her talents.
8. Like the classic comedies of Chaplin, Hawks and Woody Allen, Strangers With Candy is more than just a good subjective comedy -- it's a great objective film.
9. [T]here's demented, and then there's the plain sick and twisted tastlessness and hilarious audacity of this afterschool special gone horribly, wonderfully wrong.
10. Whether you guffaw, giggle or sit stone-faced through Strangers With Candy will depend on your reaction to Sedaris as Jerri and her freak show of over-the-top bad taste.
Consensus: Occasionally funny, but little more than a jumbled, overextended episode of the TV show. Still, Candy devotees won't be disappointed.
Q: 1. In Holy Motors director Leos Carax demonstrates that playful can be profound, bewildering can be meaningful and randomness can have precision.
2. Never before has being so confused felt so enjoyable.
3. A mischievous sense of fun permeates throughout Carax's fifth feature, which proved welcome relief at this year's Cannes Film Festival.
4. Holy Motors quite literally takes us through the looking glass, but its most magical achievement is fooling us into forgiving and forgetting the fakery of it all.
5. A circus of a film themed on death, that is all at once drama, comedy, tragedy, mystery, thriller, farce, erotica and even a musical. There is a tour de force performance by the eminently mouldable chameleon Denis Lavant
6. Full of references that are vaguely aligned (at least in his mind) with the ethereal fantasy of the afterlife as a place to borrow ghosts for re-enactment of certain scenes, usually dramatic or deadly
7. The audience member never wonders what is happening, though we may often wonder why, or under what laws this reality operates.
8. Weirdly - and probably for entirely the wrong reasons - I couldn't take my eyes off it.
9. ...Viewers are along for a ride, wild and surreal.
10. The most brilliant and exhilarating film of the year.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Mesmerizingly strange and willfully perverse, Holy Motors offers an unforgettable visual feast alongside a spellbinding -- albeit unapologetically challenging -- narrative.
1. A supremely empathic director, Jacobson tunes the emotional frequency of his actors to a heartbreaking pitch.
2. Dealing with the old Western myth in a suburbanized setting (tract houses chew up the land that Harlan lays claim to romantically), Jacobson has bitten off more than even a proven master could chew and swallow.
3. In the end, it's really just a thriller, slower than most, with pockets of dead time but with a few extra flourishes, too, thanks to Norton.
4. An odd, adventurous blur of modern life and enduring cowboy myths.
5. Writer/director Jacobson does a masterful job setting the stage for a modern-day western, one in which the protagonist seems to have arrived by teleportation tube from another century.
6. Both absorbing and unsettling, the performances so good that it's sometimes difficult to abstain from yelling advice at the screen.
7. For all Jacobson's allusions to John Ford archetypes, Badlands and Taxi Driver, he has essentially made a spiritual cousin to The Purple Rose of Cairo.
8. It's easy to see what attracted Ed Norton to the project, because Harlan is a terrific part and Norton plays him brilliantly.
9. Odd, beautiful and ambitious.
10. Down in the Valley isn't the return to '70s filmmaking it aspires to be, but it's an effective primer for young ladies on how to avoid loser guys.

Consensus: The premise of Old West clashing with modern suburbia is fresh and initially intriguing, but the second act degenerates into a clumsy jumble of events which strain credibility.