1. There are lots of punchy lines, but the one-joke movie doesn't have all that much to say.
2. It's good for some sterling one-liners and a generous handful of sparkling scenes, but after a strong, peppery start, the movie collapses into bland mush for want of anything interesting to say.
3. The Muse might have worked better if it didn't presume that we're all as interested in the machinations of Hollywood as Brooks is.
4. The Muse is sketch-comedy thin and features an overdone comic performance from Sharon Stone, making it Brooks' least satisfying film in quite a while.
5. Squeezes out plenty of laughs at the expense of the Hollywood film community.
6. In its story of a terrible filmmaker, it almost manages to explain the madness behind why Brooks still gets to crank out excrement like this.
7. Brooks' gentle satire of Hollywood.
8. Albert Brooks' mildly amusing satire about the inner workings of Hollywood benefits from Sharon Stone's droll and sexy performance, but as a comedy it's too familiar and not funny enough.
9. Like the character he plays here, Albert Brooks needed someone or something to re-inspire him while working on this plodding comedy.
10. Satire, Hollywood in-jokes won't appeal to kids.
Consensus: Despite quirky and original writing, the subject matter feels too removed to produce laughs.
Q: 1. The question comes to mind: How do you make a Van Wilder movie without Van Wilder? The answer, after watching the end result, is you don't. Or at least you shouldn't.
2. The Rise of Taj is relatively pointless in the scheme of things, but refreshing in what it (mostly) doesn't resort to for laughs.
3. The four-years-in-the-making, badly recycled (not to mention awful) sequel might stain the honor of the Lampoon label if it hadn't already produced several even worse films.
4. Crikey, it's enough to give even stupid comedy a bad name.
5. Ryan Reynolds did Blade: Trinity, people. If he thinks a sequel is beneath him, you'd better believe it.
6. The film's incompetence is not limited to the writing, acting and directing. There are jarring jump cuts and continuity errors, and a laugh-out-loud eyeline mishap during a supposedly intimate conversation. One keeps expecting a boom mike to peek out.
7. In an askew way, Rise of Taj is a better film than Van Wilder, but when encountering cinematic crap on this level, it's hard to clearly distinguish the taste anymore.
8. Defines pedestrian filmmaking on every conceivable level, yet this embracement of mediocrity lends a surprising amount of legitimacy to its juvenile subject matter.
9. The laughs are low, the breasts are high, and the film is instantly forgettable.
10. As the movie itself is only occasionally entertaining, I invented my own competition: picking scenes from other movies that the Van Wilder 2 screenwriters ripped off because they didn't have any of their own ideas.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A low-brow comedy, minus the comedy.
1. This nearly incomprehensible guilty pleasure is actually a great deal of fun.
2. Has filmmaking really become this cynical, or is it just me?
3. The adventures of Catwoman, Elektra, Lara Croft and Aeon Flux were positively Homeric compared to this simple-minded Hi-Def tedium...
4. The real blood war is between this movie and the slightly better Aeon Flux, which Wimmer plagiarizes as freely as Equilibrium plagiarized Fahrenheit 451 and The Matrix.
5. Milla Jovovich may look hot in spandex and bangs, but if you want rapidly-cut, slow-motioned-for-emphasis spectacle AND story, take in some ESPN highlights or any production by NFL Films. At least you would be getting your money's worth.
6. a kinetic art piece of color, sound, and movement that exists somewhere between the Underworld movies and Matthew Barney's Cremaster Cycle, with just a hint of Tron thrown in.
7. Amid every action cliche in the book, outmoded stereotypes, and a plot derivative of every futuristic drama made in the last fifteen years, Ultraviolet comes off as nothing more than a pale copy of better, more inventive films.
8. This is disposable cinema, to be wiped clean from the mind as soon it's over and mercifully forgotten.
9. Ultra-dumb.
10. Jovovich, who's shown sensitivity in her dramatic work, looks spectacularly bored as she power-kicks her way through one bloody pile-up after another. That boredom, like the mystery virus at the center of the film, is contagious.
Consensus: An incomprehensible and forgettable sci-fi thriller, Ultraviolet is inept in every regard.
Q: 1. Feeling like a dope has rarely been more fun than it is in Nine Queens.
2. Bielinsky's script is slick and fiendishly clever, with seemingly a twist a minute.
3. The film seethes with a sense of something more sinister at work around us, building to the point that you're not sure who's getting played and who isn't.
4. So the plot points don't exactly tie up in writer-director Fabian Bielinsky's award-winning import. Still, anyone who loved Charade, The Sting or House of Games is bound to fall for this fast-paced Argentine pic.
5. We become complicit in our own seduction: We willingly let Bielinsky manipulate us.
6. Bielinsky is a filmmaker of impressive talent.
7. If Nine Queens draws you on a journey that eventually leads up a garden path toward your own suckerhood, it's all the more pleasurable for having done so with such slick expertise.
8. As an entertainment, the movie keeps you diverted and best of all, it lightens your wallet without leaving a sting.
9. There's a lot of honour-among- thieves squabbling between Juan and Marcos, both of whom have excellent motivation to distrust the other, but the performances complement each other beautifully.
10. Nine Queens is exactly the sort of film Hollywood is always re-making and utterly ruining in the process. See it in this incarnation.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Deliciously twist-filled, Nine Queens is a clever and satisfying crime caper.
1. The real stars of The Evil Dead are the direction and the effects.
2. ...all of the flubs, the bad edits, and the cheesy matte shots are key elements of a low-budget aesthetic that enhances the movie's impact even as it makes excuses for itself.
3. Raimi's biggest grossout is schlock horror done the right way...
4. To say that the Evil Dead movies are not for everyone is an understatement. A strong stomach is required.
5. One of the scariest, goriest, and (oddly enough) funniest horror movies of its time, and it's every bit deserving of being called a cult classic.
6. ...what it lacks in narrative weight, it compensates for with a relentless pace, disturbing atmosphere, as well as some imaginative displays of dismemberment.
7. striking in the creative energy it invests in a generally uninspired story full of half-baked ideas
8. Cheap, silly, and not as good as its sequels, but still plenty of fun thanks to the dynamic duo of Raimi and Campbell
9. The goofy gruefest that launched Sam Raimi's career.
10. Think "The Blair Witch Project," but with the witch holding the camera.

Consensus: This classic low budget horror film combines just the right amount of gore and black humor, giving The Evil Dead an equal amount of thrills and laughs.