Q: 1. Viewers who come to see a football movie likely will leave satisfied. But those who want to see an Adam Sandler movie would do better to rent The Waterboy.
2. A quickly paced, slickly filmed entertainment that's also as crude and rude as the PG-13 rating will allow.
3. Sexist, homophobic, pointless and overloaded with brain-crushing bigotry...has an evil and putrid secret agenda that couldn't have less to do with football if it tried.
4. The Longest Yard scores big laughs.
5. Does Chris Rock even know what year it is? His tired-for-a-decade references bog down a remake that would be unwatchable were it not for a jazzed-up climactic game.
6. Plagued with product placement.
7. When Adam Sandler isn't interesting enough to hold your attention in an Adam Sandler movie, something is certainly amiss.
8. The product placement cluttering professional sports also taints ... an otherwise faithful remake.
9. What's missing is any real sense of drama.
10. If only the ethnic-reassigned Burt Reynolds had stayed naked on that bear rug.
Based on these individual reviews, what is the critic consensus?

A: Consensus: This Yard has some laughs but missing from this remake is the edginess of the original.
1. What a lovely way to spend an afternoon.
2. This modest story works because of committed performances from both actors.
3. A parochial French time-passer which waddles along amiably and then ends unforgivably.
4. A movie that parts the clouds to reveal a surprising sunniness.
5. An affable reminder that the French are just as capable of making cornball cinema as any Hollywood studio.
6. This sentimental tale of a barely literate man's awakening at the hands of an elderly bibliophile is generally as painless as it is hackneyed.
7. That so many of the colossal yokel's mental states are literalized, as when the screen fills with thousands of rats while Margueritte reads Camus's The Plague aloud to her new pal, typifies the movie's antipathy to nuance.
8. It rarely rises above the pedestrian.
9. This little gem is all about the nature of chance encounters and how they can change us in unexpected ways.
10. A tender and touching love story in a small French town where two unlikely people connect in an appealing and magical way.
Consensus: It's sentimental and treacly, but that's not enough to prevent My Afternoons with Margueritte from being truly affecting.
Q: 1. Schrader's film is a notch better than Harlin's (it's elegantly framed, and stately where the other one was music-video pushy), but when you boil out the demon feathers...it's the same damn movie.
2. It's a movie possessed, in the end, not by the devil, just by errant ambition.
3. Schrader has done a remarkable job of building up to 'The Exorcist', as if 1973 really is in the future.
4. Ambitious, serious-minded horror opus.
5. Marred by some of the same problems as Harlin's version -- namely, weak supporting characters, unintentionally funny dialogue and poorly executed special effects.
6. At least it's better than some of the earlier Exorcist sequels.
7. Schrader privileges theological debate over shocks and was neither the ideal director for a franchise horror film nor as incomprehensible a choice as some suggested.
8. It's a good, thoughtful horror picture -- and thiiis close to being a very good one.
9. The austere, cerebral 'Dominion' is a serious and ambitious alternative to Harlin's movie, but it's only marginally superior to it.
10. an intriguing near-miss rather than the unintentional laugh-fest that Harlin's version proved to be
Based on these individual reviews, what is the critic consensus?

A: Consensus: While director Schrader's attempt at a literate, internal exposition on evil temptations and human sin is admirable, this prequel suffers from hit-and-miss psychological tension, poor visual effects, and weak writing -- an overambitious failure of a horror movie.
1. It shows how great we were, once upon a time.
2. It seems more like a television program one would see on the Discovery Channel than a movie.
3. The heart of Sington's film is the dry humour and boundless humility of his interviewees.
4. A bunch of old guys talking about the old days - but what old days. An absorbing doc from a filmmaker who knows a good story, and a handful of men who've lived the best story of all.
5. David Sington more than makes up for the straightforward nature of his film with the quality of its interviews and plenitude of staggering archive footage.
6. This wonderful documentary succeeds as a reminder of human endeavour.
7. There is something thrilling and moving in this documentary about the great era of the Nasa moon landings.
8. You probably won't find a more comprehensive document of space exploration on film.
9. A solid, engrossing affair intercut with footage from the time, including live coverage of that famous day in July 1969 when Armstrong and Aldrin first walked on the lunar surface.
10. A timely tribute to the 12 men who landed on the moon during the 1960s and 1970s. The remastered, rediscovered documentary footage is incredible, although the absence of Neil Armstrong is disappointing.
Consensus: Director David Sington poetically interwove 20th Century's cosmonautic history with its effect on the public's view of their country, their heroes and their future.
Q: 1. A successful novelist and restrained actor's director, Carrére makes the transformation of a silly marital argument into a cosmic upheaval look easy, and profound as well.
2. The film is an unpretentious blank slate--almost totally without point but so unassuming it earns consideration.
3. A deliciously unsettling, beautifully sustained enigma, a film of much beauty and flawless performances, especially from Vincent Lindon in one of his most demanding roles.
4. A satisfying psychological adventure that powers along nicely on its movie-star performances, the graceful craftsmanship of Emmanuel Carrere's direction and a haunting violin concerto by Philip Glass.
5. Part absurdist comedy about the institution of marriage, part paranoid Kafkaesque fantasy, it's a minor-key reverie on the way our own lives can sometimes feel alien to us.
6. Carrere playfully adapts his own novel for his feature debut and makes the interesting decision to show the film's events entirely through Marc's perspective.
7. an awfully rickety, hollow exercise in style over substance
8. It's all a bit like an Agatha Christie mystery whose final moments make it clear that none of the characters could have done it....If you can live with that, then don't miss it.
9. ...Recalls the "everyday suspense" films of Roman Polanski and the existential woe of Michelangelo Antonioni.
10. A unique psychological drama with the tension of a whodunit.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Though the premise may be modest on the surface, Carrere uses a man and his mustache that may or may not exist as a springboard into psychological suspense and unsettling questions.