Q: 1. Sweet, and almost as much fun as Fierce Creatures.
2. Delightful caper movie which gives its actors the chance to rise to new comic heights.
3. There's nothing deep, nothing ground-breaking, but it's a never-dull, tightly scripted yarn with some very funny gags.
4. One of the greatest comedies of all time.
5. Cleese at the top of his game
6. A surprisingly stylish comedy from 1988 -- an era not known for stylish comedies.
7. No pun intended, but all the stars aligned for this film. It was the perfect blend of British and American humor.
8. it's the right time to watch A Fish Called Wanda, so it can finally get the quotable legacy it so richly deserves
9. It's the humor, the quick pace of the film and the hilarious performance put forth by Kline that ultimately carries this thing, with its tight ending making it all that much better.
10. One of the funniest movies of the decade.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Smartly written, smoothly directed, and solidly cast, A Fish Called Wanda offers a classic example of a brainy comedy with widespread appeal.
1. Slow-motion shots of swaggering tough guys punctuate this painfully hackneyed gang drama set in late-50s Brooklyn.
2. This is a movie that can't say no to a melodramatic opportunity, and whatever verisimilitude inspired Paul Kimatian and Christopher Gambale to write a script based on Kimatian's memories of the gangs has been utterly lost along the way.
3. Flat and uninspired, it merely begins at point A, travels through a series of gang-film cliches, and ends at point B.
4. Deuces Wild's not worth anteing up the ticket price.
5. This clichéd tale of combative Brooklyn street gangs in the late 1950s gets it so wrong in so many ways, it's almost cruel to count them.
6. It's full of sound and fury, and the ensemble tries hard, but mob boss Fitzy has it right: They're just kids who need to grow up.
7. Scott Kalvert's attempt at a gangster picture is the worst film of 2002.
8. A flashback to a heroin casualty on a rain-soaked playground is a crucial visual aid, but any punch-drunk victim of Deuces Wild might prefer the needle to the damage done.
9. Skip it. Just fill in the blanks and you too can brew the same bland, goopy mixture.
10. It not only promotes every stereotype and invokes every cliché of Brooklyn lore, it combines them all into an insulting composite, fuses that to the chrome-and-fins of the pointless Fifties, and then -- weirdly -- pretends it's Shakespeare.
Consensus: Melodramatic and weighted down with silly dialogue, Deuces Wild is a forgettable, overheated thriller that leaves no cliche unturned.
Q: 1. What finally gives Rendition its headlong narrative momentum is the sense that we're rarely certain what argument the filmmakers are endorsing.
2. Toss in a bunch of one-dimensional characters, a major flashback that isn't triggered by a memory or a theme but simply by the convenience of the plot and an ending that makes absolutely no sense, and you end with a big, fat mess.
3. A movie that has only two major scenes for Streep and one for Arkin has talent to spare.
4. That it's embarrassingly plausible, that it depicts things that have happened and that are probably still happening, is enough to make Americans sick to their stomach.
5. A political potboiler guaranteed to get your heart racing. It pushes all the buttons these kinds of suspenseful dramas usually do.
6. Rendition's approach feels additionally preachy and one-noted because its message is bigger than both the story and the human element.
7. If these new, allegedly topical movies are to make us feel anything -- to move us toward any action or even just toward any fresh realization -- they need to at least seem alive on the screen, instead of just courting our polite, measured applause.
8. While Rendition does show terrible torture, it doesn't quite rethink the cultural context, the conditions that produce such monsters, again and again.
9. I have no qualms with any of the performances, or with the film's individual components. It's the overall effect that's lackluster. This is a film that's good and decent, but not as deep it wants to be.
10. Although South African director Gavin Hood gave us the searing, Oscar-winning foreign film Tsotsi, he may not yet have enough experience to handle something on a grander scale.
Based on these individual reviews, what is the critic consensus?

A: Consensus: The impressive cast cannot rescue Rendition, which explores complex issues in woefully simplified terms.
1. It Might Get Loud is never dry, never too technical, boasts fantastic concert footage -- and the soundtrack is killer.
2. Somehow we got two rockin' documentaries about air guitar and even one about the electric car before we got a solid movie about the life of the electric guitar.
3. Guitar god? Check. Sex god? Absolutely. Jimmy Page effortlessly exudes sex - at 65.
4. It really should be about the music, not the talk.
5. The sloppiness is almost in keeping with the experimental styles of guitar playing that are featured in the movie. A few bits of brilliance shine through the messier moments.
6. Davis Guggenheim's contrived documentary is a largely unrewarding essay on the mystique of the ubiquitous electric guitar...
7. For guitar geeks, the sight of Page, Edge and White together in one room will be enough. Others, however, can't help but wish it might have gotten a little louder.
8. Rock fans and Guitar Heroes in the making will get a charge out of visiting where the happy accidents that put guitars into each man's hand happened. And the playing isn't bad, either. Loud. But good.
9. You'll never see a more tactile expression of the intimacy between artists and their instruments than in Davis Guggenheim's elating It Might Get Loud.
10. It does make you want to pull out some old records and listen with a new appreciation for certain sounds you once might have taken for granted.
Consensus: An affectionate tribute to rock's most distinctive instrument, It Might Get Loud is insightful and musically satisfying.
Q: 1. Chen and Gong, two of China's most respected actors, offer two great performances in a film about love, loss and perseverance that will nearly break your heart.
2. Daoming just manages to keep the material from turning into a sentimental variation on "Waiting for Godot."
3. Intriguingly, the director has successfully woven a Kafkaesque metaphor into a classically Chinese melodrama.
4. A modern yet timeless tragedy that's desperate, sad and rich with devotion.
5. Technically gorgeous with a half baked story, Coming Home is far from Yimou's best...
6. Historical resonances aside, "Coming Home" functions well as an impeccably crafted, compellingly acted tale.
7. ... a poignant bittersweet romance with some powerful sociopolitical undertones.
8. [Yimou Zhang's] latest film Coming Home is something of a return to his roots, a family drama seething with undertones of sociopolitical frustration, more reserved than his early work but with characteristic gushes of emotion.
9. Zhang Yimou is now 64 years old, and the personal pain that permeated his last film to deal directly with the Cultural Revolution, To Live, has faded to a sad resignation and a mood of tender forgiveness in the emotional Coming Home.
10. Heartbreaking in its depiction of ordinary lives affected by political upheaval, this ode to the fundamental values that survive even under such dire circumstances has an epic gravity that recalls another great historical romance, Doctor Zhivago.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: The rare tearjerking melodrama with sociopolitical subtext, Coming Home plucks the heartstrings with thought-provoking power.