1. In this season of Oscar-bait overacting, I'm grateful that "A Map of the World" includes recognizable emotional landmass.
2. A film with an every day beginning and an every day ending, and a triumph in between.
3. A searing yet wholly believable journey.
4. Carries surprising dramatic power; and the acting is good enough to carry it over even the admitted rough patches in the final reels.
5. A truly remarkable film. It is just not for everyone.
6. Good performances all through the movie.
7. Acclaimed stage director Scott Elliot makes an auspicious debut behind the camera.
8. An accomplished film that continually takes us beyond our first impressions of people and situations.
9. Worth navigating for its refusal to play to the crowd. There's certainly nothing safe or sweet about Weaver's performance.
10. A Map of the World is a grim, humorless melodrama with very little entertainment value.
Consensus: Disjointed storytelling overshadows noteworthy performances.
Q: 1. Director Andrew Bujalski and his amazing cast create such a unique and addicting experience that these 110 minutes go by in no time at all and the only thing you want when it's all over is more.
2. This new film will likely earn even fewer fans but it's an even more accomplished work.
3. Twice now [director] Bujalski has created a compelling film on a shoestring budget, making me wonder what he could do with some real fiscal backing.
4. The attraction here is the naturalistic, dead-on dialogue delivered by articulate, interesting characters who live realistically lower-class lives in underfurnished apartments financed by dead-end jobs.
5. The movie is made of small moments; they add up in your mind to something bigger later, the way life does outside of movies.
6. Mutual Appreciation shows life as contingent, conditional, enigmatic, never finally realized, as, in short, everything that the Harvey Mansfields of the world abhor, and it shows why to accept this kind of life is an act of strength.
7. Mutual Appreciation appropriates a seemingly improvised vérité style that's ideal for a cast of characters of no tremendous ambition.
8. The kind of movie whose dialogue mostly hews to the rhythms of 'like, you know, whatever' but then occasionally throws in a word such as 'puissance.' And, like, it totally works.
9. Bujalski's tantalizing cultish films are the best work I've seen coming out of recent American indie films.
10. There is no denying the director-screenwriter's ability to capture a certain real-life quality on film.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Director Bujalski continues to give cinematic voice to awkward, literate twentysomethings with noteworthy smarts and tenderness.
1. ... the dark, sarcastic tale no doubt will recall the profound likes of "Midnight Cowboy" and "The Graduate" ... That's not such bad company to keep for a boy named Igby and guy named Burr.
2. A kinetic drama that seems to wander aimlessly, beautifully until it crashes in an odd anti-climax befitting reality itself.
3. It suffers from Culkin's monotonous performance, which does not inspire sympathy or interest.
4. The sly, visceral and daring comedy with its startling opening and strong, magnetic cast has a lot going for it.
5. Follows so closely in the footsteps of Catcher in the Rye that it can hardly fail to please the myriad fans of that book.
6. Culkin exudes none of the charm or charisma that might keep a more general audience even vaguely interested in his bratty character.
7. It's Harold and Maude without the humanism, Rushmore without the insight and The Graduate without the irony.
8. A prickly coming-of-age tale in which everybody -- but especially Culkin -- shines.
9. Surprises you with a reservoir of emotion and sentiment that happily counters the film's trendy ironic veneer.
10. The kid is a bit of a twit.
Consensus: In the vein of The Catcher in the Rye, Igby Goes Down is scathingly witty and sharply observant.
Q: 1. Lucidly [explores] the grey-area complexities of guilt, morality, and the reactionary justifications that lead humane people to seek unspeakable retribution.
2. It's a rough ride, but an exhilarating and strangely moral one all the same.
3. Somehow you'd be more won over by his anti-revenge case if he didn't seem to be having such a good time making it.
4. This ultra-violent revenge thriller is far more notable for its baroque excesses than coherence or credibility.
5. So bloody, scatologically violent and consistently shocking, it seems to have no larger purpose than itself -- which is pretty grim.
6. Two hours that didn't entertain much, thrill much or do much of anything...much.
7. Even more brutal than Oldboy, but sadly less focused and with less intrigue
8. Park pays most of his attention to visceral style, but he sketches in enough about his characters to make them frighteningly relatable.
9. It's all a little ultra-cool for me. Shakespeare was right. Revenge is a dish best served ice-cold, not cool.
10. Park's worldview is grotty to such extremes that it becomes hard to recommend [this] in good conscience, no matter how virtuosic the delivery.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Though Park directs with stylistic flair, this revenge thriller is more excessively gruesome than thrilling.
1. Most of the time the sound effects are so loud that much of the poetic and subtly nuanced dialogue is unintelligible.
2. What did you expect a Judge Dredd movie to be? Ingmar Bergman?
3. This is just another video game without the interaction, a movie that seems to have no purpose other than simple-minded thrills and spills.
4. Never has such a big, dumb movie seemed so small, as it shrinks from Blade Runner sharp to Jetsonian junky.
5. Good action, but mumbled dialog and shallow charcterizations.
6. Isn't helped by Sylvester Stallone's embarassingly awkward performance.
7. Directed without inspiration by Danny Cannon from a stupid script by Michael De Luca, William Wisher, and Steven de Souza.
8. A thunderous, unoriginal futuristic hardware show for teenage boys.
9. A bomb; I dread having to ever see this turkey again.
10. The movie, by the end, practically seems intent on destroying itself.
Consensus: Judge Dredd wants to be both a legitimate violent action flick and a parody of one, but director Danny Cannon fails to find the necessary balance to make it work.
1. Of the many film versions, this one from 1951 with Alastair Sim as Scrooge is the most faithful to the spirit of the book.
2. If I dare to say it, a more dramatically successful work than Dickens's novella.
3. A sturdy 1951 British mounting of the Dickens tale, with Alastair Sim contributing a definitive Scrooge.
4. Lashings of festive cheer and a fair dollop of fine performances will leave you in the mood for mince pies and a renewed sense of seasonal goodwill to all men.
5. This is easily the best screen version of the much loved yuletide tale.
6. This faithful adaptation of Dickens' A Christmas Carol is a rare beast indeed, a genuinely affecting melodrama.
7. For many decades, this 1951 production was considered to be the best adaptation of Charles Dickens' "A Christmas Carol," and it is easy to see why: it features excellent production values and a wonderful performance by Alastair Sim as Scrooge.
8. One of the handful of best Christmas movies ever made.
9. The classic book brought to life.
10. This film, and Alastair Sim's performance as Scrooge in particular, so perfectly captures Dickens's novella that all other versions feel redundant.

Consensus: The 1951 adaptation of Charles Dickens' timeless classic is perhaps the most faithful film version -- and Alastair Sim's performance as Scrooge is not to be missed.