Q: 1. While Pride does have a lot to like about it, including a fantastic ensemble and a positive, uplifting message, sadly the film is smothered in a little too much excess, which in turn makes it not work as well as it might have.
2. While you could name the contents of Pride's cluttered collection of culture clashes and personal revelations well before they are laid out, the emotional authenticity of the movie... will swiftly win you over without warning.
3. [Pride] is bright, perky and ostentatiously warm-hearted. I hated almost every minute.
4. The theme is solidarity against adversity, and the movie is unironically uplifting.
5. While director Matthew Warchus may not do justice to the film's more serious source material as he combines this bite of history with blatant fabrication and raucous humor, this tale of two struggles is vibrantly entertaining.
6. [A] mediocre British dramedy.
7. The script's many small moments are catnip for the cast.
8. It gets a bit too warm and fuzzy - bordering on manipulative - at the end, but this is an important story proving that activists with ingenuity can build improbable political coalitions.
9. A warm-hearted, feel-good comedy that embraces its 1980s setting and highlights a small piece of forgotten history.
10. Amidst all its clumsiness, the film does hit an uplifting note in its final segment, making the point that equality is a matter of human rights, not sexuality.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Earnest without being didactic and uplifting without stooping to sentimentality, Pride is a joyous crowd-pleaser that genuinely works.
1. A poorly acted and instantly forgettable supernatural thriller.
2. You're better off avoiding any eye contact with this movie.
3. One of the less awful horror remakes in recent years.
4. The Eye remake rolls off Hollywood's Asian horror assembly line like expired goods that have been repackaged.
5. The feel-good Japanese horror remake vehicle of the year! No, that's a bad thing.
6. Alba is very good at looking very good... but she's quite terrible at looking very scared, or very traumatized...
7. stupendously bad
8. Directors David Moreau and Xavier Palud ... and screenwriter Sebastian Gutierrez ... cleave very close to the [original Hong Kong] film in many ways, yet the result is far less satisfying.
9. A thin premise frays the audience's patience.
10. Despite some good, shocking visual images, the execution leaves much to be desired, and overall this remake is not as effective as the 2003 Hong Kong original--or the helmers' first (French) feature, Them.
Consensus: Featuring wooden performances and minimal scares, The Eye is another tedious remake of an Asian horror film.
Q: 1. For what it is -- a romantic comedy about the rivalry between a jealous ghost and a flaky psychic for the love of a veterinarian -- Over Her Dead Body is not bad.
2. A stumbling romantic lark about a bubbly psychic who throws down with the shrill ghost of her boyfriend's former fiancee, Over Her Dead Body is a stiff of a supernatural comedy.
3. Norman Z. McLeod, Constance Bennett, Roland Young, Alan Mowbray, and Co. must be turning over in their graves to see this is what their brilliance in the first two "Topper" film has wrought.
4. A harebrained rom-com diversion offering few laughs and little romance.
5. A one-eyelash-above-average supernatural rom-com.
6. This January has been surprisingly pain-free, a rarity for sure, but this heap brings matters back to a stark reality.
7. Unlike its stubborn corpse bride, Over Her Dead Body will decompose quickly in the memory before fading forever into video oblivion.
8. The quirky romantic comedy works largely because of good writing, and Rudd's deadpan delivery of same. That he can do so as slapstick erupts around him makes it all the funnier.
9. The movie's visuals and ghost jokes are a waste of time, but the delightfully kooky Bell and the wry Rudd occasionally strike spontaneous sparks.
10. What's really spooky is that even the weakest Desperate Housewives episode packs more heat than this tepid romantic comedy-fantasy.
Based on these individual reviews, what is the critic consensus?

A: Consensus: With few laughs and little romantic chemistry, Over Her Dead Body lacks the ingredients of a successful romantic comedy.
1. Pulls you in on the strength of its pathos while delighting you with the retrofit boldness of its technique and conventions.
2. Innumerable moments of pure genius
3. The best reason to see Far from Heaven is to watch Julianne Moore give one of her finest performances.
4. An ignorant, false, bigoted, boring, pretentious film that could have been made by Eisenstein in the Kremlin under Joseph Stalin in 1938.
5. This is easily Oscar caliber work and absolutely Ms. Moore's best to date.
6. Exultant in both its artifice and its cruel honesty, it's a movie Sirk would make today - and, as such, it's quite brilliant.
7. Moore is simply...wonderful.
8. The film confronts the eraв(TM)s intolerance with regard to gender and race relations, but it should be noted that Haynes films without a trace of irony. The actors offer similarly genuine performances.
9. An accomplished marriage of elaborate style and content.
10. An obsessive triumph of design and tribute, beautifully acted ... but this stuff was somehow more fun in the '50s.
Consensus: An exquisitely designed and performed melodrama, Far From Heaven earns its viewers' tears with sincerity and intelligence.
Q: 1. There is something smug and roguish-by-rote about the usual Gleeson performance. Yet who else could play this protagonist?
2. The reasons it's worth seeing are Gleeson's impish performance and the sparkling dialogue, which marries Irish blarney to Tarantino-lite philiosophising.
3. "The Guard" is not the most original buddy-cop movie you'll see, but it well may be one of the most entertaining.
4. The always-unbeatable Gleeson is on simply outstanding form, conjuring a character both dignified and ridiculous, heroic and hardly bothered.
5. The Guard, like its unconventional hero, is a true original.
6. Like bacon, Brendan Gleeson makes everything taste better.
7. "The Guard" is violent, profane and funny.
8. Spiteful, ironic and human in turn, The Guard is an entertainment that makes most of the year's American comedies look impoverished, and in Gleeson it has a palpable star.
9. Offering shades of Sidney Poitier's In The Heat of the Night, The Guard is a good character study with an above average script.
10. Assured and well-written, it may totter uncertainly in the third act but it's a pleasure to listen to a script with such an ear for shocking insult and knowing offence.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: A violent, crackerjack comedy with a strong Irish flavor and an emminently likable Brendan Gleeson in the main role.