Q: 1. Many laughs to be had for patient viewers.
2. Carrey, with his Silly Putty face and herky-jerky body, scores an ace.
3. Works because it does its job of making viewers laugh.
4. Doesn't amount to much.
5. This latest jaunt into 'butt joke central' just left me with a bad taste in my mouth.
6. Audiences will pick up on this rather quickly and, after what should be a huge opening weekend, will not return for more, causing the film's anticipated legs to quickly break.
7. Whereas Mary was thoroughly inhabited by all manner of absurd types, Irene has only a tagalong albino waiter.
8. The big shock here is how flagrantly unoriginal the movie is.
9. Has a few funny bits, but most of the time, it relies upon sight gags and profanity, neither of which are humorous alone.
10. Me, Myself would flop without super Carrey.
Based on these individual reviews, what is the critic consensus?

A: Consensus: While Jim Carrey's comedic skills earn some laughs, Me, Myself and Irene sports a tired, unsatisfying plot.
1. When Hollywood attacks a volatile issue, it inevitably spoon-feeds you the main components of the issue several times over.
2. The tone is so muddled that there's a whiff of exploitation to this movie that's unsettling at best.
3. Undeniably one of the more powerful films you'll see this year!
4. Riveting!
5. I just wish the film didn't give us an entire year's history curriculum about racism in two hours.
6. Having reduced racism to a kind of adolescent coping mechanism, X takes a mildly curious path to its foregone conclusion, writer-director Tony Kaye putting his leads through the somehow comforting 'hood-film paces.
7. American History X may be flawed, but it's not easily forgotten.
8. Kaye wants to say something about what produces a skinhead today, and though he doesn't succeed fully in this endeavor, he does take us a significant part of the way.
9. Norton is by turns frightening and heartbreaking, angry and serene. I don't think I've ever seen a character in film with a more believably wide range.
10. A powerful and disturbing social document.
Consensus: A compelling and provocative story led by an excellent performance by Edward Norton.
Q: 1. It will send you home with more than a few long thoughts.
2. A tour de force acting performance by Sarandon.
3. This feels like a giant cop-out.
4. Its final moments leave us awash in emotion.
5. An entirely superb experience at the movies, but never have we seen anything on the big screen reduce grown men to tears like this drama.
6. An extremely affecting experience
7. One of the best things a film can do is make us reflect on our convictions and beliefs. Dead Man Walking powerfully forces this reflection through its compellingly ambiguous subject matter and superb performances by Sarandon and Penn.
8. Sarandon, who won the Oscar for Best Actress for this role, is superb, but Penn is extraordinary.
9. The picture is cloudy in intent.
10. Robbins, who also wrote the script, is no Truman Capote, let alone a Victor Hugo, and his film trips up constantly on indecisiveness about what it is he's trying to say.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A powerful, thought-provoking film that covers different angles of its topic without resorting to preaching, Dead Man Walking will cause the viewer to reflect regardless of their political viewpoint.
1. It takes place during the 14th century, but everyone speaks in contemporary language, which might have been acceptable if the dialogue were clever or intelligent or funny or, you know, good.
2. Great song. Bad movie.
3. Stop me if you've heard this one. A priest, an altar boy, two Crusaders, and a con artist walk toward an abbey with a suspected witch in tow.
4. The first reveal of Nicolas Cage sporting a blond wig with ringlets that makes him look like a Shirley Temple drag queen impersonator after a post-medieval-party-themed blackout is the sort of fright probably not intended by its makers.
5. Season of the Witch isn't quite Jonah Hex or Little Fockers bad, but it's one helluva shoddy way to start off the year in movies and yet another crummy entry in Nicolas Cage's woeful post-Oscar filmography.
6. Not only bad in predictable ways, it's obscenely lazy.
7. A cheerfully terrible January time-waster.
8. This is how 'Monty Python and the Holy Grail' would have turned out if it had been funny unintentionally instead of intentionally.
9. A 14th-century road movie with 21st-century cuss words.
10. A CGI freakout at the finale can't save this mundane medieval thriller about witches, devils and disillusioned knights.
Consensus: Slow, cheap-looking, and dull, Season of the Witch fails even as unintentional comedy.
Q: 1. Calvary is gripping, moving, funny and troubling, down to an uncompromising yet uncynical finish.
2. Gleeson delivers towering performance as Christ-like priest who must pay for someone else's sins.
3. We must forgive the movie for its sins of formality because it's trying to work out the mother of moral dilemmas before our very eyes.
4. [T]he kooky residents of a small Irish village... go search of a black comedy, but get stuck in a dramatic thriller that goes nowhere.
5. John Michael McDonagh's caustic passion play pits one stolid cleric against the whole filthy universe of base humanity, which demands he atone for the sins of the Catholic Church.
6. Full-to-bursting with a raft of idiosyncratic characters and philosophical conflicts and the current crisis in the Church and idiomatic comic dialogue strung along by the script's thriller-like ticking clock.
7. McDonagh isn't always successful at juggling his disparate impulses, leaving his film to tonally lurch from one scene to the next. But damned if he shouldn't be praised for trying.
8. Calvary is full-to-bursting with a raft of idiosyncratic characters and philosophical conflicts and the current crisis in the Church and idiomatic comic dialogue strung along by the script's thriller-like ticking clock. It's also beautifully shot.
9. A dark and profoundly funny tale of an institution failing its sheep and its best shepherds.
10. Great filmmaking is an art. McDonagh and Gleeson have showcased that art with "Calvary".
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Led by a brilliant performance from Brendan Gleeson, Calvary tackles weighty issues with humor, intelligence, and sensitivity.