Q: 1. A lovable heroin addict helps a widow and her children cope with loss... Obvious and unconvincing...
2. Danish director Bier focuses on themes and relationships in what's otherwise a rather contrived melodrama.
3. Susanne Bier's first English-language film is a superbly written, powerfully emotional drama with terrific, Oscar-worthy performances from Halle Berry and Benicio Del Toro.
4. ...raw and anguished performances...
5. Story of death and redemption too much for kids.
6. The first time you stare into Halle Berry's iris, it's interesting; by the fifth and sixth time it's exasperating.
7. Berry gives a riveting performance, but as a deeply decent man trapped in a hell of his own making, Del Toro gives the kind of career performance Berry gave in Monster's Ball.
8. 'Things We Lost in the Fire' deserves praise for its top-notch performances and its humanistic treatment of such serious subject matter as grief and addiction.
9. [Del Toro is] both beast and beauty in a movie that mismanages the idea that life is not a fairy tale.
10. Del Toro's face can be a map of emotions, and he's allowed to unfold it freely.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Things We Lost in the Fire is a well-acted, beautifully filmed reflection on love, loss, addiction and recovery from life's obstacles.
1. 40-Year-Old Virgin hits swell comedic highpoints, and the sheer vibe of the picture is so cheery and bawdy that it's impossible to hate.
2. Wedding Crashers will gross close to $200 million by run's end. If that's the playing field comedy fans want to set, then The 40-Year Old Virgin deserves to outgross Titanic.
3. It almost made me forget about Deuce Bigalow: European Gigolo. Almost.
4. could have been the funniest and sweetest movie of the year
5. Sure, it's a fairly broad sex comedy, but it's a sweet one.
6. Essentially a relationship comedy masquerading as a sex farce.
7. A surprisingly funny, if disposable, movie.
8. [Carell] makes the most of his chance at the spotlight, and has increased the possibility of his becoming a household name with an effectively funny comedy.
9. Sweet and raunchy in equal measure, which I suppose makes it the aged-to-perfection version of American Pie.
10. Simply put, this movie is the adult sex comedy that 'Wedding Crashers' could have been.
Consensus: Steve Carell's first star turn scores big with a tender treatment of its titular underdog, using raunchy but realistically funny comedy to connect with adult audiences.
Q: 1. Follows in the original's footsteps on a more reasonable scale while sparing audiences an emotional ambush.
2. ...doesn't even know how to play to its own strengths.
3. Penguin sequel has fun musical numbers, a few mild scares.
4. As a philosophical krill on a voyage of self discovery, Brad Pitt single-handedly saves 'Happy Feet Two'.
5. Much like its Oscar-winning predecessor, the story focuses on lads and dads, though there are strong mama figures and daughters, too.
6. It's not very good as a film, but there's no denying its stunning animation, particularly in the service of its two daffiest new characters Will (voice of Brad Pitt) and Bill the Krill (voice of Matt Damon), and its sheer lunacy can be invigorating.
7. Other than commercially, more is less in this antic, not so funny sequel to the 2006 blockbuster.
8. The disjointed, undercooked sequel to the Oscar-winning 2006 hit aims to tell life lessons and celebrate pop music, but this would-be toe-tapper is curiously out of step.
9. It's not that songs like L.L. Cool J's "Mama Said Knock You Out" or the Rivingtons' oldie "Papa-Oom-Mow-Mow" are better known. It's just that they're better written.
10. It can't match the original, but it's not the first sequel to fail on that front, and it still offers plenty of fun and enjoyment in compensation.
Based on these individual reviews, what is the critic consensus?

A: Consensus: The animation is as eye-popping as ever, but Happy Feet Two's narrative is too noisily incoherent to recapture the Oscar-winning charm of its predecessor.
1. It won the best first film award at Cannes; somehow, it doesn't seem quite substantial enough to justify that accolade.
2. Beautifully observed and very funny, this film is a real treat.
3. A terrifically droll and slyly incisive comedy.
4. The central European tradition of failed aspirations, lost ideals and forlorn eccentrics goes back to early Forman, or indeed Chekhov, but the Latin Romanians bring their own awareness of the distant big city alternately beckoning and frightening.
5. The only problem with the new Romanian cinema seems to be titles few can easily remember - but some eccentricity is permissible when the films are so good.
6. A melancholy rumination on the failed hopes of Eastern Europe after the Cold War, infused with a sense of farce and the irrecoverable nature of the past.
7. Human, savvy, funny, well observed; kudos to director Porumboiu for making something from nothing
8. Extremely clever filmmaking--sharp and very funny, but also challenging and packed with relevance.
9. 12:08 East of Bucharest cleverly takes on the aftermath of the December 1989 revolution in Romania that resulted in the overthrow of Nicolae Ceaucescu. It's a movie that seems simple, yet its subtle and brilliant complexity is not to be denied.
10. The film leaves off on a perfect note of hopeful melancholy.
Consensus: With a witty script full of satirical overtones and dry humor, 12:08 East of Bucharest is a thoroughly enjoyable Romanian comedy.
Q: 1. Kahn has a marvelous command of the material, showing a fine facility for the elements of the genre.
2. A remarkably compelling marital nightmare.
3. Taut, atmospheric, impeccably made psychological thriller.
4. The novel from which writer-director Cedric Kahn adapted Red Lights was, ironically, set in the United States over an arid Labor day weekend. Kahn's update may be more air-conditioned, but it's just as claustrophobic, creepy and allegorical.
5. Red Lights seethes with unexpected thrills around almost every corner. Antoine . . . has no clue to what lies ahead. ... Neither do we. That elevates the intrigue.
6. It's a very sly piece of filmmaking.
7. The endless line of glowing red brake lights ahead, the glaring headlights behind and the psychological tension within the capsule of the car combine to create a poisonous atmosphere that gradually seeps out and pervades the entire film.
8. Take a bickering couple, put them in a car, get the driver drunk, add some terrible traffic and an escaped killer, and you've got "Red Lights," a movie I recommend to no one.
9. Cedric Kahn is so adept at building Hitchcockian suspense out of the ordinary that the twist is truly chilling rather than silly.
10. Thriller/mystery buffs might find the narrative slow; the thriller elements aren't introduced until the movie is nearly half over, and the mystery starts even later. But a dandy payoff will reward those who are patient.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Red Lights is a taut, character-driven thriller, set against the debris-strewn battleground of a failing marriage.