Q: 1. Demonstrates why nowadays the best thing you can say about an American movie is that it plays like a French film.
2. Fontaine indulges her signature style, creating a carefully measured film -- the kind whose impact slowly sneaks up on its audience and haunts them long after leaving the theatre.
3. Chillingly prosaic.
4. How I Killed My Father is one of those art house films that makes you feel like you're watching an iceberg melt -- only it never melts.
5. What makes How I Killed My Father compelling, besides its terrific performances, is Fontaine's willingness to wander into the dark areas of parent-child relationships without flinching.
6. A compelling French psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart.
7. It's a tour de force, written and directed so quietly that it's implosion rather than explosion you fear.
8. Exquisitely nuanced in mood tics and dialogue, this chamber drama is superbly acted by the deeply appealing veteran Bouquet and the chilling but quite human Berling.
9. Fontaine's direction, especially her agreeably startling use of close-ups and her grace with a moving camera, creates sheerly cinematic appeal.
10. Bouquet gives a performance that is masterly.
Based on these individual reviews, what is the critic consensus?

A: Consensus: How I Killed My Father is a penetrating character study of father-son ties.
1. To borrow a putdown from a past vice presidential debate, we've all seen John Travolta, and Ryan Phillippe, you are no John Travolta. Nor for that matter are you Mark Wahlberg.
2. An entertaining reminder of how facile the disco era really was...
3. I was hoping to be able to recommend 54 from a camp point of view, possibly the next Showgirls. But it's not. The fact is it's so uninvolving, it's not even interesting enough to be bad.
4. Qualifies as one of the more entertaining bad movies of the year.
5. This is so dull!
6. First-time feature director Mark Christopher proves that he's a better director than a writer, though not too terribly much.
7. Whatever you do, don't waste your money on the superficial, cowardly 54
8. A disappointingly dull film.
9. ... a wasted opportunity
10. A mish-mash of bad writing, poor acting (except Myers), amateur directing and mediocre production credits.
Consensus: Poor plot development and slow pacing keep 54 from capturing the energy of it's legendary namesake.
Q: 1. It is basically a lowbrow and secular rehash of A Christmas Carol, although Sandler creates a character more hateful than Ebenezer Scrooge.
2. The comic genius is evolving toward Bill Murray territory - that of a bright soul beaten and worn down by life, with a humorous shine tantalizingly repressed.
3. The only thing about this movie I didn't hate was Hasselhoff.
4. Those going in expecting Happy Gilmore Gets A Remote will be gravely disappointed.
5. There were times when I wanted a universal remote to fast-forward through repeated jokes about a dog having sex with a stuffed animal or children using four-letter words.
6. It's an unimaginative, mean-spirited affair that makes you hate yourself for laughing at it, and it's so devoid of anything close to wit, subtlety or sophistication.
7. Click sells itself as an Adam Sandler comedy full of immature humor (and it is), but the last 30 minutes are brilliant, heartbreaking and emotional.
8. Frank Capra is rolling over in his grave at the worthless gimmick that's needed to retell his classic story.
9. Sandler's fans may find some of his antics entertaining, but once the film turns on the waterworks, even they'll want to click away.
10. Instead of high concept turning into comedy gold with a touch of sentiment, we get a childish load of staleness that farts in the face of its Capraesque pursuit.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This latest Adam Sandler vehicle borrows shamelessly from It's A Wonderful Life and Back To The Future, and fails to produce the necessary laughs that would forgive such imitation.
1. Gripping and satisfying in a way that no mere summer event movie could ever be.
2. Despite nearly six decades of filmmakers trying to come to grips with [World War II, Saving Private Ryan] feels like the first truly honest attempt to deal with the horrors of combat -- and the terrible responsibility shared by all survivors.
3. For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.
4. Using the overpowering techniques of modern film, Steven Spielberg has cut through the glory-tinged gauze that shrouds World War II to reveal its brutal reality, creating a phenomenology of violence unsurpassed in the history of cinema.
5. A powerful experience.
6. A flawed but masterful film.
7. With complete visual and aural technical mastery, Spielberg and Kaminski thrust us face-first into the fighting, and never let us back out for two hours and forty minutes.
8. A powerful and impressive milestone in the realistic depiction of combat, Saving Private Ryan is as much an experience we live through as a film we watch on screen.
9. A soberly magnificent new war film.
10. Saving Private Ryan may be the most mature war film ever made.
Consensus: Anchored by another winning performance from Tom Hanks, Steven Spielberg's unflinchingly realistic war film virtually redefines the genre.
Q: 1. The story is really just a flimsy premise for a series of gags.
2. Dehydrated!
3. The Waterboy is arguably Sandler's most enjoyable motion picture to date, but it's still far from a masterpiece.
4. art it ain't, but 'The Waterboy' is pure, undiluted Sandler, in the kind of role only he could pull off. The movie also owes much of its success to divinely hammy Kathy Bates and the spooky-sexy Fairuza Balk
5. Sandler proves yet again that the comedic buffoon character is an effective cinematic tool for tickling the funny bone.
6. There are no epic moments that will go down in comedy history here. But there's enough funny stuff to keep you amused throughout the movie.
7. It appears Sandler doesn't have to be "normal" to be funny.
8. A damned funny movie!
9. A mildly amusing bayou farce with plenty of 'foosball' action to liven the sometimes plodding proceedings.
10. Adam Sandler has made predictable movies with worn out plots an artform.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This is an insult to its genre with low humor and cheap gags.
Q: 1. The movie is a bauble, but it's an enjoyably weird and original one, and it is anchored by Black's constantly amusing performance.
2. Silliness takes a Mexican holiday in Nacho Libre.
3. ...by hanging its oddball characters on the most obvious of plots, it dilutes the weirdness that would have made it unique.
4. ... you can always count on a bad fart joke (of which "Nacho Libre" boasts several) to get a laugh, whether it deserves one or not.
5. Oddly reverent, faintly patronizing (they shot it in Mexico, with an exceptionally homely cast of extras), and always warm and funny.
6. However you feel about the story or the characters, the way in which Hess renders it is the most striking thing about Nacho Libre. If he hasn't yet achieved true mastery of sight gags, he's getting there.
7. The combination of body slams and bathroom jokes makes it a heck of a lot livelier than Cars.
8. Nacho Libre, the often hilarious follow-up to Napoleon Dynamite by director Jared Hess, settles it: This is the world's funniest Mormon.
9. The movie is semi-infantile camp but often riotous.
10. Nacho Libre scores points only on occasion.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: At times hilarious, but other times offensive, Director Jared Hess is unable to recapture the collective charisma of his Napoleon characters, instead relying on a one-joke concept that runs out of steam. Sure to entertain the adolescents, however.