Q: 1. The "doing crime for fame" theme is more than a little played-out, but Hardy's so boisterous -- and Refn's filmmaking so dynamic -- that it's fairly easy to buy in to the inherent entertainment value of bloody fisticuffs.
2. Refn tells his story in a gripping, genre-breaking way, introducing broad theatricality and surreal animation. In some scenes, Peterson delivers monologues in a clown's whiteface; in others, we're in an asylum as mad as its patients.
3. Tom Hardy is pure dynamite in the role, beefing up 35 pounds to play Britain's most notorious prisoner.
4. Bronson is an explosive, theatrical, fourth-wall-busting project that will strike some viewers (like me) as prodigious and others as unbearably pretentious.
5. Refn films much of the violence in slow motion, accompanied by classical music, which adds impact to the brutality.
6. A bit like Stanley Kubrick's Clockwork Orange reimagined as a one-man stage show and stripped of any political implications.
7. An invigorating, refreshingly stylish biopic brimming with dark humor, surrealism and an unforgettable, brave performance by Tom Hardy.
8. Tom Hardy proves more than ready for his close-up, cackling, snarling and head-butting his way through Pusher director Nicolas Winding Refn's mercifully unconventional biopic.
9. Hardy delivers a committed if showy performance, but there are some awful smaller turns which smell dangerously of homophobia. The whole thing made me want to scrub my brain with Vim.
10. Hardy's portrayal is more than a real-life impersonation of Bronson; it realizes the Stunt Movie opportunity to present an actor's thoroughly romantic admiration of force.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Undeniably gripping, Bronson forces the viewer to make some hard decisions about where the line between art and exploitation lies.
1. Bakshi has carved out a niche for himself directing mixes of animation and live action, but he's let down here by an unconvincing script and characters.
2. [Who Framed Roger Rabbit] is better than this film in every qualifiable sense except it doesn't have a sex scene.
3. The doodles are thoroughly repulsive and, worse, unfunny.
4. Hopeless.
5. Back to the drawing board, everyone.
6. A combination of Ghostbusters and Roger Rabbit, Cool World, unfortunately, plays more like the lamentable Howard the Duck.
7. After the painstaking technical bravado of Roger Rabbit, it's no longer possible to get away with scenes in which a cartoon has obviously just been pasted onto an actor's wooden movements.
8. Cool World isn't difficult to watch (there's too much insanity floating around to be bored), it's just impossible to digest, absent any grounded activities that could elevate the viewing experience past weirdo cartoon diarrhea.
9. There are a few clever little satires on other animated films and perhaps a good line or two, but the incoherent story just is not very interesting.
10. A surprisingly incompetent film.
Consensus: Cool World throws a small handful of visual sparks, but they aren't enough to distract from the screenplay's thin characters and scattered plot.
Q: 1. The acting is campy, the airplanes quaint, but Metropolis defines fearful futurism.
2. Everything we take for granted in movies today had to be "invented" by someone and it only enhances our understanding and enjoyment to recognize these roots.
3. The restoration eliminates nearly all the distracting cracks and splices and stabilizes images that were previously jittery, allowing us to admire them in all their complex glory.
4. One of filmdom's major must-sees.
5. The film looks beautiful and does justice to Fritz Lang's vision.
6. All in all, it's a very complex story for a silent film - and it still can hold an audience's attention for 2 hours, even after 75 years.
7. See it on the big screen while you can, or risk the wrath of Moloch.
8. You can't be fully literate in the history of movies without seeing Metropolis, and this clearly is the version to see.
9. After 75 years, Fritz Lang's Metropolis still stands as an icon of the silent era.
10. Compelling prima facie evidence that the phrase 'black-and-white movie' needn't at all be synonymous with 'boring night at my grandparents.'
Based on these individual reviews, what is the critic consensus?

A: Consensus: A visually awe-inspiring science fiction classic from the silent era.
1. Un suspense qui profita abondamment de la largesse d'esprit du cinéma américain de l'époque, peut-ętre męme un peu trop...
2. A highly enjoyable thriller.
3. There is no purpose to a suspense thriller, I suppose, except to involve us, scare us, to give us moments of vicarious terror. Play Misty for Me does that with an almost cruel efficiency.
4. Early Clint behind the camera shows the promise to come.
5. Em seu filme de estréia como diretor, Eastwood troca a tensăo pelo susto fácil a partir da segunda metade da trama, errando ainda no longo e embaraçoso 'interlúdio musical'.
6. Still quite effective stalker-thriller, has dated somewhat
7. For his directorial debut, Clint Eastwood opted to make this relatively straightforward but hopelessly dated Fatal Attraction clone (er, precursor).
8. Early, effective version of 'Fatal Attraction' theme
9. I think the fault lies with Clint Eastwood the director, who has made too many easy decisions about events, about the management of atmosphere, about the treatment of performances.
10. Terrific tale of romantic obsession that pre-dated Fatal Attraction
Consensus: A coolly calculating psychological thriller that manages to scare the audience even if it is just using textbook thrills.
Q: 1. The subtlety of the interplay among the three generations of women is extraordinary.
2. Satrapi's life story is exhilarating and heartbreaking; filtering political events through her youthful experience of them creates a very different, very human picture of Iran.
3. Here is an adaptation so inspired, so simple and so frictionless in its transformation of the source material that it's almost a miracle.
4. un récit d'une remarquable sensibilité s'imposant comme une oeuvre de marque au sein d'un genre que nous n'avons pas encore l'habitude de voir sous un jour aussi politisé
5. The film's nuanced view of social issues is complemented by lovely black-and-white animation work that blends Islamic motifs into a sort of Yellow Submarine-ish world.
6. An exuberant autobiographical film and dark-horse contender for an animated feature Oscar.
7. A moving, intimate, complex, visually beautiful black-and-white story.
8. Based on her own graphic novel, Marjane Satrapi and Vincent Paronnaud's film is a masterly work.
9. Marjane learns that there's no place like home. And we Americans watching realize that people have homes even in the heart of the Axis of Evil.
10. A gentle dance performed at the edge of the abyss
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Persepolis is an emotionally powerful, dramatically enthralling autobiographical gem, and the film's simple black-and-white images are effective and bold.