Q: 1. The film never manages to build into the clever comedy it initially seems destined to be.
2. I was never engaged in the film's story nor did I care about its main character.
3. It simply lacks the kind of audacity, confidence and substance that was the hallmark of Kasdan's best work in the '80s.
4. It's hard to tell what drew Kasdan to imagine Mumford - the town and the man - since the flimsily whimsical, rambling result never declares its intentions.
5. There are cute moments and some very nice performances. All that's missing is a movie.
6. Neither funny, heart-warming nor star-powered enough to motivate the public to turn out in very large numbers.
7. This pleasant romantic fantasy is slight enough to go straight to cable -- to network, even.
8. Simply a nice film. But that's not as much of a compliment as it sounds.
9. Mumford is such an instantly forgettable piece of work.
10. Mumford doesn't go very far or deep in detailing our impostor's road to redemption.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Memorable moments are few and far between.
1. What impressively begins as a gentle social satire gradually becomes a conventional family melodrama, one that lacks a clear moral center and in which the parents are just as confused as their children
2. A rich and elegant drama.
3. The dazzling ensemble perfectly captures every nuance in one of the finest acting showcases you could hope for.
4. What struck me about it was the fluidity and discipline of Lee's direction, the performances which captured so beautifully the confusion of that period of cultural and sexual evolution, and the compassion which I think is a feature of all of Lee's films.
5. I think one of the things [Ang Lee] really specializes in is ensemble pieces like this one.
6. Beautifully nuanced, passionately performed, and terrifically realized piece of work.
7. Drug use and sexual content in Ang Lee masterpiece.
8. Arguably Lee's first truly essential film.
9. Beautifully acted, refreshingly un-camp in its take on wide lapels and progressive rock and occasionally coolly moving. It's just that ultimately, there's less here than meets the eye.
10. As in any joke, destiny is a major character.
Consensus: Director Ang Lee revisits the ennui-laden decadence of 1970s suburban America with deft humor and gripping pathos.
Q: 1. Jackson Pollock may have been the wild beast who broke through the ice, but Ed Harris proves to be a tame animal indeed.
2. Most of Pollock, save for the last act, feels refreshingly different from most other bio-pics. Outstanding.
3. Only seems straightforward because the complexity of its relationships and intelligence of its details have been handled with such ease.
4. Harden deserves recognition more than her co-stars, if only because she creates the sole sympathetic character.
5. Harris spent most of the past 10 years trying to bring Pollock's story to the screen, and his passion is evident in nearly every scene of the film.
6. ...can't ever seem to find its way out of Denis Leary's all-purpose tortured artist biopic template: 'I'm drunk, I'm nobody. I'm drunk, I'm famous. I'm drunk, I'm dead.'
7. It tracks a mythology of creativity which runs from Caravaggio to Patti Smith, and is running still, unended.
8. Harris as an actor does justice to his long-term passion to play Pollock.
9. A highly personal, rigorous, and thoughtful analysis of a truly troubled genius.
10. The honesty and integrity that have always distinguished Harris' acting are reflected in every element of this extraordinary film.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Though Pollock does not really allow audiences a glimpse of the painter as a person, it does powerfully depict the creative process. Harris throws himself into the role and turns in a compelling performance.
1. Gandolfini's last screen performance and another great one from Tom Hardy are the highlights of a crime thriller from Lehane, the author of "Gone Baby Gone" and "Mystic River."
2. No, the performances are good enough, the story engaging enough, but The Drop never convinces us that the events unfolding on the screen are more than a filmmaker's conceit.
3. Roskam's sensibilities wouldn't seem to mesh with such a distinctly American crime story, but his attention to character detail crosses all borders.
4. The Drop, a potent, propulsive crime drama, gives us one more chance to salute the formidable talent of a remarkable actor [James Gandolfini] who died in June 2013 at age 51.
5. The Drop is a taut yarn that bides its time. Slow-burning tension, dark wit and superlative performances will keep audiences captivated.
6. "The Drop" would be totally forgettable, except for one thing- it's the final screen performance by James Gandolfini.
7. "The Drop" could have been an ordinary crime drama, but it's elevated by extraordinary performances.
8. While director Michael Roskam lays the groundwork for a heist thriller, "The Drop" is fueled by character, not plot.
9. If you follow your instincts and bolt at the start of this sturdy and bleak noir, you'll miss Tom Hardy creating a thing of beauty yet again.
10. Mr. Roskam's direction is gratifyingly loose. He lets the story, which is really the least interesting part of the movie, more or less take care of itself, allowing us to savor pungent morsels of dialogue and bits of low-key actorly showboating.
Consensus: There's no shortage of similarly themed crime dramas, but The Drop rises above the pack with a smartly written script and strong cast.
Q: 1. 'Iырrritu y Arriaga crean una historia trepidante, poderosa y profundamente humana'
2. a deeply spiritual film, dealing as it does with the core issues of life and death and the role God plays in them
3. Just go see it.
4. It demands a great deal of actors whose faces and bodies are, for a while at least, our only temporal coordinates. Yet all are off-the-charts remarkable.
5. A puzzle at first, but by half way you may have figured it out, then it's a wait until the end. Character's struggles with his or her course harsh reality is aptly realized.
6. Iырrritu is dealing with love, grief and revenge in provocative ways that Hollywood would never dream of, avoiding the sermons and obvious morals.
7. After the disorienting first half hour, things get less interesting as they become clearer.
8. A trio of noteworthy performances from Watts, Del Toro, and Penn is countered by lengthy, drawn-out, non-linear storytelling that guts the film's dramatic impact.
9. ...so stirring, so inquisitive and so uninhibited by the restraints of cinema that it absorbed me in ways that few movies ever have.
10. Naomi Watts covers a wide emotional range and is always believable, regardless of what is in the script, and some of what is in the script is very hard to believe.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Alejandro Gonzבlez Iסבrritu deftly weaves an uncommonly structured narrative with panache in 21 Grams, a stylish, haunting drama full of fine performances.