Q: 1. Get out and see this thing. Now.
2. There is never a dull moment.
3. The unshakable authenticity [Soderbergh] brings to the background goes a long way toward grounding the script's more egregiously crowd-pleasing moments.
4. Roberts shines.
5. It's a victory for Julia Roberts, co-star Albert Finney and director Steven Soderbergh. It's also a victory for the audience.
6. A completly involving movie that will grab you from the first frame of film to the closing credits.
7. What Soderbergh can do as well as anyone is bring restraint, intelligence and subtlety to mainstream material, and what a difference that makes.
8. Soderbergh demands a lot from his star here, and she delivers, perhaps more than even he expected.
9. Even [Roberts'] detractors have to hand it her; this time out she's sublime.
10. For better or worse, this is Roberts' film. Thank heavens it's for the better.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Taking full advantage of Julia Roberts's considerable talent and appeal, Erin Brockovich overcomes a few character and plot issues to deliver a smart, thoughtful, and funny legal drama.
1. Inventively animated yet hopelessly uneven...
2. a mixture of live-action and stop-motion animation that is heavy on fever-dream spectacle, but fairly shallow in terms of character
3. A delight.
4. The fantasy is almost too inventive for its own good.
5. It's Joanna Lumley and Miriam Margolyes as the ghastly Spiker and Sponge who steal this wonderfully pantomimic show.
6. One of the brightest, giddiest and most outlandishly exciting of all the Disney Studio's recent major feature cartoons.
7. James and the Giant Peach proves the best effects are even better with a strong story.
8. Fabulous adaptation of Roald Dahl's classic book.
9. Captures the author's spirit, creating a film with not only whimsical creatures but very real emotions.
10. It was a bold choice to mix live-action and stop-motion, and it's not something you'd see today given the pervasiveness of CGI.
Consensus: The arresting and dynamic visuals, offbeat details and light-as-air storytelling make James and the Giant Peach solid family entertainment.
Q: 1. A deeply human study of the internal impulses we indulge or hide, whether that pertains to intellect, attraction, emptiness or otherwise.
2. Many feel the film, based on Lipsky's interview transcriptions, carries a ghoulish aura of opportunism. It doesn't strike me that way ...
3. Like a hipster version of a bromance, The End of the Tour wrings humor and pathos from a macho-intellectual pas de deux. But it ultimately taps a rare and delicate strain of fellow feeling.
4. "End of the Tour" does provide a fascinating insight into the relationship between a smart, semi-fawning journalist and his extremely perceptive subject.
5. Road trips are a fairly routine framework for movies, often with a focus on two traveling companions. Never have I seen one that moved me so close to tears as "The End of the Tour," which transforms that common clay into a work of beauty.
6. Now, [Lipsky's] book serves as the basis for this always talky, often engaging, occasionally fascinating, and sometimes shaggy but never quite boring movie starring Jesse Eisenberg as Lipsky and Jason Segel as Wallace.
7. "The End of the Tour" chooses the low-key over grand gestures and melodramatic histrionics, and it proves more richly powerful as a result.
8. The film consists of the two men talking, and not a lot else. But the performances, by Jason Segel as Wallace and Jesse Eisenberg as Lipsky, are perfect.
9. A thoughtful, moving testament to genuine connection.
10. Ultimately, "End of the Tour" feels like a sensitive portrait of a good man struggling to deal with depression and fame, as well as a tender depiction of what a towering talent and decent person that awful disease snuffed out.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Brilliantly performed and smartly unconventional, The End of the Tour pays fitting tribute to a singular talent while offering profoundly poignant observations on the human condition.
1. This is a film that gets better as it goes along, but not enough better to make much of a difference.
2. There's a lot of wasted effort here trying to distract us from what we know good and well is going to happen. Nevertheless, it's time pleasantly spent.
3. It's the kind of movie home video was invented for: Not worth the trip to the theater, but slam it into the VCR and you get your rental's worth.
4. Tomei, sashaying through the proceedings as kind of a sexy hood ornament, creates a buoyant chemistry with her combative b.f.
5. Smart-talking comedy with Joe Pesci in fine form.
6. While it's easy to imagine an infinite number of bad courtroom comedies based on this scenario, this movie turns out to be wonderful -- broad and low character comedy that's solidly imagined and beautifully played.
7. Though overrated, this comedy shows why Joe Pesci was once an important film addition
8. It's a small, surprisingly gentle affair, prone to fits and starts, but fun.
9. Too dependent on convenient stereotypes and fish-out-of-water cliches, though the late Fred Gwynne is a welcome presence.
10. Big dumb comedy that somehow works.
Consensus: The deft comic interplay between Joe Pesci and Marisa Tomei helps to elevate My Cousin Vinny's predictable script, and the result is a sharp, hilarious courtroom comedy.
Q: 1. What really carries the movie is our identification with a main character who can't quite put his finger on what's missing from his life.
2. The filmmakers have taken a bet that an unsexy, unpretty and unconventional movie about bank robbery and gambling can be as captivating as its flashier mainstream counterparts, and they've won.
3. As channeled by the extraordinary Hoffman, Dan Mahowny is less a freak than a nerve-deadened Everyman with the courage to search for something that makes him feel alive.
4. There could have been life in the material, but no one involved save [John] Hurt and [Chris} Collins seems to have taken the time to find it.
5. An odd little acting exercise for Philip Seymour Hoffman and John Hurt, two of the best actors of their respective generations.
6. Effectively shows the way gambling can narrow the lens through which gamblers see the world, creating a view that's absurdly myopic.
7. Collapses into a public service announcement on gambling.
8. It's just one of many Hoffman portraits that are painfully real and brilliantly textured.
9. Add another movie to the list of those in which Philip Seymour Hoffman plays a pasty, schlubby, mouth-breathing loser in a suit so cheap it shines -- and put it at or near the top.
10. Hoffman's soft-spoken, ultra-low-key demeanor is a perfect fit for Mahowny.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: This story of addiction may lack the typical flash and glamour, but Hoffman makes Mahowny compelling.