1. Cage gives us a complex portrait of a formerly bad man trying to do the right thing in all his imperfect and messy glory.
2. Joe is elegiac and wistful, but it also is loose enough to let Cage run a little free.
3. Nicolas Cage is as if the question "Turn down for what?" took human form and then starred in a bunch of direct-to-DVD thrillers. For him, there is no such thing as a 'phoned-in' performance.
4. What lifts Joe above similar stories, besides the acting, is Green's intense attentiveness to setting and atmosphere.
5. Green doesn't take the obvious route, looping in and out of a series of incidents instead of chaining them too tightly in cause and effect, creating real intrigue around Joe and his impulse to destroy.
6. Green's soul-baring Southern noir has much to say about those who speak with their fists and is a masterwork of threatening melancholy.
7. Moody, melancholy and well-intentioned, Joe works better as a character study than the melodramatic parable that it eventually embraces.
8. Here is a seething piece of social-realist Southern gothic, featuring a powerful performance from a big and broodingly bearded Nicolas Cage.
9. Green is as observant as ever, and he not only conjures up a vivid, self-contained universe, but peoples it with fascinating, damaged characters. No matter how lowdown they may appear, Green seems to understand their humanity.
10. a beautifully, painfully wrought drama about violence and redemption
Consensus: Rich in atmosphere and anchored by a powerful performance from Nicolas Cage, Joe is a satisfying return to form for its star -- as well as director David Gordon Green.
Q: 1. It may not be great, but it's pure, and it deserved better.
2. Same old same old about humans fighting vampires in a futuristic society - been there done that. Still the movie does have good action and a nice performance by Paul Bettany.
3. yet another in a long line of dim, contrasty postmodern stews that appeal to a particularly dark, pseudo-Gothic sensibility, but probably not to anyone else, including those who enjoy the various genres from which it steals.
4. The God of Aborted Franchises will be pleased.
5. As happens with big-screen comics, the dialogue fizzles at times. But mostly this is a delicious mash-up of styles and genres: gothic, steampunk, Wild West, martial arts, dystopian fun.
6. Priest is so not a good movie. In fact, it's a pretty bad one, but it's also the most fun I've had at a bad movie for some considerable time.
7. It's a lot of talky-talky and very little smashy-smashy.
8. The parallels between Priest and The Searchers are extensive, and spotting them provides some fun in what might otherwise be a pretty dismal experience.
9. The po-faced filmmaking and acting only highlights how unoriginal it is, from production design to music to action sequences
10. You sit in your theater seat imagining how much better it would be if it were rated R and garnished with tons more vampire violence and digital death.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Sleek and stylish, but those qualities are wasted on a dull, derivative blend of sci-fi, action, and horror.
1. It's unclear just how much sympathy we are to extend the unrepentant and bullying title character.
2. Shelton's film is about the nature of truth and popular myth, about the single-minded pursuit of glory, and the horrors within. It's also very funny.
3. Cobb turns into a noisy, cantankerous buddy picture.
4. The result, whether Cobb is wailing about greatness or ruminating about the dark circumstances around his father's death, is a performance too operatic and out of control.
5. [Jones] lets it all loose here. It's the performance of a lifetime: full of menace and venom, eloquence and fire, rot and pathos, crackling rawness and realism.
6. Jones' on-target portrayal of the dying athlete is mesmerizing.
7. This is a messy movie, sometimes repetitive, sometimes too compressed and allusive. But that's like saying Ty Cobb was not a very good sport -- irrelevant in comparison to the horrific fascination of his story.
8. The movie never equals the performance, but still fascinating to watch.
9. Massively underrated.
10. It's the kind of film where you admire the craftsmanship and artistry while questioning the wisdom of the project itself.
Consensus: Tommy Lee Jones's searing performance helps to elevate Cobb above your typical sports biopic; he's so effective, in fact, that some may find the film unpleasant.
Q: 1. Hanks evokes astonishingly precise memories of the time.
2. Light and peppy, this filmmaking debut by Tom Hanks is as harmless as a puppy dog waiting to be petted.
3. A romantic romp as sweet and bubbly as a Coke float.
4. Tom Hanks' writing-directing debut is a sweet valentine to rock 'n' roll.
5. It's concerned with a very general notion of the corrupting nature of stardom, and it doesn't push any of its ideas far enough to invite its audience to invest in the issues it raises.
6. That Thing You Do! is a credible first effort.
7. ...a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
8. ...is a pleasant film perfect for a brain-dead matinee.
9. Uma histзria simples, contada de maneira tambжm simples, que acaba agradando por suas boas intenушes.
10. With its exuberant tempo and danceable Beatlesque theme song, That Thing You Do will win the hearts of a broad audience.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A light, sweet, and thoroughly entertaining debut for director Tom Hanks, That Thing You Do! makes up in charm what it lacks in complexity.
1. [A] gripping slice-of-life docudrama.
2. An urgent reminder of an era of honest crusading jurnalism in which information was separated from entertainment, in contrast to the current infotainment and soft news
3. A celebration of journalistic responsibility that speaks eloquently to our current moment.
4. Good night , and goodluck is a stunning, uniquely timely, piece that gloriously interweaves real behind the story stories 'tween Murrow & Senator McCarthy...
5. A travesty.
6. We immediately appreciate Strathairn's focused intensity as Murrow, his slick black hair and the impression of undiluted integrity that he almost startlingly personifies.
7. Clooney's brilliantly orchestrated and seriously respectful movie can be seen as a grim shoulder tap, lamenting the social irresponsibility of what Gore Vidal likes to call the 'United States of Amnesia.'
8. An impressive time capsule, driven by a memorable performance by David Strathairn
9. In ninety-three tight, terrifically exciting minutes, Clooney makes integrity look mighty sexy.
10. Clooney's account of Murrow's historic assaults on Senator Joseph R. McCarthy, in 1954, imitates many of Murrow's best qualities.

Consensus: A passionate and concise cinematic civics lesson, Good Night, And Good Luck has plenty to say about today's political and cultural climate, and its ensemble cast is stellar.