Q: 1. Hrebejk's stylish direction and perfectly chosen cast make what might otherwise have been a depressing tale of post-perestroika working class woes into a melancholy, comedic riff on what it means to be European these days.
2. Hrebejk suggests, through this tragi-comic film, that while things are rough now, they've got to get better. I mean, they can't get much worse, can they?
3. Up and Down spends most of its time at the lower elevations.
4. [A] fascinating but disjointed portrait of strained family relations in the modern Czech Republic.
5. A sprawling comedy-drama that actually tries to say something -- not just about its characters, but about the Czech Republic and what it's turned into since becoming a capitalistic society.
6. Forget Crash. This vivisection of race and class, set in the Czech Republic, offers no easy redemption, if any.
7. When you understand its message, the film takes on a different level.
8. An ambitious premise that only just falls short of genius.
9. A compelling tale of everyday extremes.
10. The movie asks us to see these people as humans and to forgive them for being human and doing to each other what humans beings do to each other. It's a deeply humane film.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A tragi-comic exploration of the universal search for stability in post-Communist Prague.
1. Cute, sweet and totally harmless.
2. Chasing Liberty is fine (if empty) fun, and much credit for that should go to feisty Moore.
3. A feather-light, doggedly formulaic romantic comedy that's almost instantly forgettable despite the sunny presence of teen queen Mandy Moore.
4. Chasing Liberty is a comedy with no sense of fun, a romance with no passion.
5. The movie's most disarming aspect is its old-fashioned regard for Europe as a charming, fun, cosmopolitan, friendly place.
6. Chasing Liberty chases laughs and charm for most of its 100 minutes. It loses both races, but it has its moments, an engaging cast and a lot of scenery of the great cities of Europe.
7. Moore's abundant charm and the nicely exploited foreign locations are the only things this formulaic coming-of-age semi-comedy have going for it.
8. Rather than off-putting or cloying, its youthful exuberance is positively contagious.
9. It's light, airy fun, with the cheery snap of bubblegum and the proficiency of a well-turned sitcom.
10. The film does provide some nice shots of Venice and offers one solid reason to display a little patriotic fervor: We do have the freedom to avoid such rote, shallow dullness.
Consensus: Formulaic comfort food for the teen crowd.
Q: 1. See the movie for the vampires, which are at least visually interesting. The humans are so boring I couldn't wait for them to die.
2. 30 Days of Night isn't deep, but it's effective, and at least it doesn't seem like something you've seen a dozen times before.
3. 30 Days of Night is a high-concept movie idea that's so good, I'm surprised we haven't seen it.
4. Director David Slade takes the film adaptation halfway home by getting the look exactly right.
5. 30 Days of Night is the well-paced and entertaining horror debut of Hard Candy director David Slade, who captures the coolest parts of Steve Niles' comic book series on the big screen.
6. A truly terrifying hell-ride through darkness for grownups.
7. The increasingly ridiculous behavior of some of the other humans turn the film laughable by interrupting its brutality with banality. And when it comes to vampires, brutal is always better.
8. An anemic adaptation of Steve Niles and Ben Templesmith's creepy comic series, 30 Days of Night is lighter on horror than it is on inadvertent humor.
9. Whatever power the original comic had, this film adaptation lost it in translation.
10. You could make a horror film with shocking story developments and creepy twists. Or, you could just have monsters with pointy teeth jump into the frame while making loud noises. For the latter, check out the vampire flick 30 Days of Night.
Based on these individual reviews, what is the critic consensus?

A: Consensus: While 30 Days of Night offers a few thrills, it ultimately succumbs to erratic execution.
1. ...there are some classic scenes and the cast is hilarious.
2. Superbad might be the most provocative teen sex comedy ever made; it is certainly one of the most convulsively funny.
3. One can almost imagine the characters portrayed by Hill, Cera and Mintz-Plasse growing up to be the Lebowski unholy troika of Bridges, Turturro and Goodman.
4. There's no denying it's pretty funny, although you may hate yourself for laughing.
5. The best comedy of the summer.
6. The decade's funniest movie ... nothing short of an instant classic.
7. Greg Mottola executes Superbad with his characteristically light touch, even if it's used in the service of filthy sight gags, endless profanity and an inordinate obsession with bodily fluids.
8. The comic peaks of Superbad deal in specific characters rather than easily pegged stereotypes. Their most outlandish verbal riffs -- none of which can be quoted -- give the edgiest stuff in Knocked Up a run for its money.
9. Jonah Hill and Michael Cera displayed some of the best on-screen chemistry I've seen all year, and newcomer Christopher Mintz-Plasse squeezed his shtick in there at just the right moments.
10. Superbad is the perfect crude teen comedy to end the summer on. It's funny, a little bittersweet and it signals something coming to an end.
Consensus: Deftly balancing vulgarity and sincerity while placing its protagonists in excessive situations, Superbad is an authentic take on friendship and the overarching awkwardness of the high school experience.
Q: 1. Initially buoyant and flavorful, pic grows less distinctive as Jung's rise-and-fall saga hits the downhill slope.
2. A mature, emotionally resounding film that could have easily been released in December and garnered several Oscar nominations.
3. The movie plays it real safe, as the only users the audience sees are the flashy Hollywood types that no one cares about.
4. What makes the film eminently compelling is Depp's superlative lead performance.
5. Tthe movie is higher on style than it is on substance, but one of its strong suits is that it never stoops so low as to lecture us. It throttles by with irresponsible abandon.
6. An engrossing, tautly structured portrait of life in the cocaine trenches of 20 or more years ago.
7. A rather banal portrait of an insipid guy who got rich selling nose candy and lived to regret it.
8. A mediocre biopic.
9. Grabs hold of you by the lapels and simply won't let go.
10. Many of us would be satisfied to watch him watch paint dry. But his George is merely adequate, falling between verité and the knowing parody that drove his Ed Wood and Hunter S. Thompson.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: With elements that seem borrowed from movies like Goodfellas and Boogie Nights, Blow is pretty much been-there-done-that despite another excellent performance from Johnny Depp. It, also, becomes too sentimental at the end.