Q: 1. The broad obvious jokes are generally tossed away with a panache that might be mistaken for subtlety; the performances are affable; and there's even the odd surprise along the way.
2. Pleasantville seemed to say that such squeaky clean living is unnatural and unsustainable. Blast probably aims lower than its counterpart, but it came closer to its mark.
3. A modestly fun little comedy.
4. ...entertains without pretensions.
5. Despite the talented cast and an inherently funny idea, Wilson and company's mediocre script squanders what could have been a highly original comedy.
6. Walken's skill at warped humor isn't new, but Spacek is a revelation; her reactions and comic timing are all fabulous.
7. An intelligent and lively romantic comedy with a subversive edge.
8. Quite a stylish, sophisticated and sweetly satirical comedy
9. This is a movie of delayed payoffs. Spacek gets better as she gets wiggier after decades in the bunker.
10. Blast from the Past is a sweet-natured comedy that is worth seeing.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Cute idea, but not consistently funny.
1. A deliciously evil black comedy that's sure to elicit lots of shameful giggles throughout.
2. Mini's First Time is delectably vulgar for 20 minutes or so, almost too bad to be true, but it soon loses its cheap-thrills appeal.
3. Mini is a wonderful character, and she's the villain you simply can't help but root for, watching the dominoes fall where they must, and lets these yuppies self-destruct.
4. Trashy but fun, Mini's First Time is like one of those paperback books you might take to the beach. You don't brag about having read it, but you enjoy every page.
5. Much of the film reeks of decadence and new money-the snazzy cars and clothes and the boxy, minimalist modern stone and glass interiors that are as cold as the characters themselves.
6. Touches fleetingly on an interesting phenomenon - namely, the manner in which a father's advances simultaneously disgust and enthrall his teenage stepdaughter.
7. A lethal joyride through the debauched lifestyles of L.A.'s glamour-industry elite.
8. Mini's First Time is a down-and-dirty exercise in depravity and debauchery; in other words, just the kind of plot that gets us to turn off the TV and head for the multiplex -- blue states and red states alike.
9. It doesn't help that first-time screenwriter/director Nick Guthe created such a superficial group of characters. Few, if any, seem believable or are interesting enough to care about.
10. The characters in Mini are played by fine performers (Alec Baldwin, Jeff Goldblum, Carrie-Anne Moss), but they're still one-note.
Consensus: This black comedy wavers between sleaze and satire, without ever fully committing to either.
Q: 1. Nobody's on automatic here, least of all the director, who's probably delivered the most impersonal -- but smoothly Hollywood-style professional -- movie of his career.
2. If Inside Man isn't the best movie Lee has done, it's probably the most purely exciting and enjoyable.
3. This is a filmmaker who has something to say, and knows how to say it. As creative rebirths go, it's a lot more fun than you might expect.
4. Viewers may be surprised at the smoothness with which the frequently bombastic Spike Lee navigates the mainstream.
5. The geometric precision with which this clever puzzle is laid out produces a picture whose sum exceeds its sometimes wayward parts.
6. As Inside Man works its way toward its satisfying finale, Lee trusts that we're smart enough to work some things out for ourselves.
7. If any old director-for-hire had made Inside Man it would have been a pretty good thriller. But Spike Lee makes it into something extraordinary.
8. A deft, tense, pure thriller, the movie has great star turns and is brilliantly directed, but it began as an extremely well-crated screenplay by Russell Gewirtz.
9. The climax doesn't just spell out every surprise plot turn, but italicizes and underlines them too, and then puts to use a yellow highlighter for solid measure.
10. [Lee's] most complete picture in over a decade.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Spike Lee's energetic and clever bank-heist thriller is a smart genre film that is not only rewarding on its own terms, but manages to subvert its pulpy trappings with wit and skill -- and Denzel Washington is terrific as a brilliant hostage negotiator.
1. Unfortunately, "National Treasure: Book of Secrets" falls under the category of been there, done that.
2. Absurd second installment in the Indiana Jones-for-idiots franchise...
3. It's like doing a puzzle a second time. It's familiar, it's redundant and it's rarely exciting.
4. If you can set aside the movie's countless flaws and just go to watch a stupid mindless movie, then you are good to go with this film.
5. The derivative National Treasure: Book of Secrets is a smooth, lightweight action film for undemanding audiences.
6. A slight improvement over its agreeable forebearer...
7. National Treasure: Book of Secrets is a pretty typical blockbuster sequel, focused intently on appeasing what it thinks the audience wants, and missing out on what it takes to make a truly good movie.
8. National Treasure: the Book of Secrets is an absurd adventure, but its absurdity is wacky and warmhearted. You have to suspend your disbelief, but so what? National Treasure: the Book of Secrets delivers on what it sets out to be: lively and
9. If you can put all sense of realism on hold, you'll be rewarded with a moderately pleasing diversion.
10. Over-stimulating brain bubblegum guaranteed to take kids under ten straight to adrenaline heaven!
Consensus: A talented cast goes to waste in the improbable National Treasure: Book of Secrets, which is eerily similar to the first film.
Q: 1. Fanning and Stewart, playing the two leads, are timid and lifeless much of the time.
2. The drop of menstrual blood that hits the pavement in the first shot signals that this flashy, colorful film will offer a particularly female take on the cautionary blood-and-thunder passion play that audiences expect from their rock-and-roll biographies.
3. While Jett and Currie emerge as blurry, half-formed characters, Shannon's Fowley brings the contradictions the Runaways embodied into sharp, biting focus.
4. Music video director Floria Sigismondi shot this fascinating story on Super 16, giving the film a beautifully gritty 70's look. Fanning and Shannon are phenomenal.
5. It might sound square to suggest that making a movie about someone who didn't lose his mind on drugs, or cheat on his wife, would be a welcome change, but in truth, any change in approach would be welcome at this point.
6. Enjoyable, stylishly directed rock biopic with terrific performances from Fanning, Stewart and Shannon, though the fact that it's adapted from Currie's book means that only Cherie's story is explored in any depth.
7. Floria Sigismondi's flawed account of the rise and fall of short-lived, all-girl rock band The Runaways captures a genuine sense of the 1970s... the real '70s, not the wacky sitcom version.
8. For the most part it works, thanks to painstaking recreations of hazy disco-era dive bars, faded roller rinks and seedy motels, plus a ballsy performance by Kristen Stewart.
9. Parental Content Review
10. Okay, so it's not quite as rock'n'roll as what Garbage's Shirley Manson did to her boyfriend's corn flakes. But give the girls a chance, man.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Viewers expecting an in-depth biopic will be disappointed, but The Runaways is as electric as the band's music, largely thanks to strong performances from Michael Shannon, Dakota Fanning, and Kristen Stewart.