Q: 1. The European cut rocks -- U.S. version less so. Biggest drawback is that Besson tries to persuade us Reno is Italian, and I'm never buying that.
2. Oldman's character is so over the top, so utterly ridiculous that the audience may feel prompted to laugh unintentionally.
3. It's an American movie as seen by someone whose main frame of reference is American movies, not American life. Therefore, while it's draped in a cloak of gritty realism, Besson's movie is really a kind of bizarre cinemaphile fantasy.
4. The most objectionable thing is Gary Oldman's performance, baroque in its awfulness. Almost as bad is the director's attempt to construct a visual style -- and, for that matter, characters -- by piling one mannerism on top of another.
5. Besson has a gift for amoral sleaziness that should serve him well over here. In his very first American film, he has gone straight for the smarm.
6. Its strengths grate against the movie's glaring flaws, mainly its complete lack of credibility.
7. You'll enjoy the action, but you'll remember the movie because of Reno and Portman.
8. Leon: The Professional has style to spare.
9. Mathilda is like no New York City girl-child I've ever seen riding the subway. And I couldn't take my eyes off her.
10. Stylish, mature hitman thriller is quite violent.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Pivoting on the unusual relationship between seasoned hitman and his 12-year-old apprentice -- a breakout turn by young Natalie Portman -- Luc Besson's Léon is a stylish and oddly affecting thriller.
1. Jakob the Liar deserves a place alongside Life Is Beautiful and, yes, even Schindler's List.
2. Jakob the Liar is more pleasant than painful. And with Williams, that's really all we're asking for.
3. Dramatic!
4. The film anticipates all laughter and emotion in ways that make it its own worst enemy.
5. A markedly better picture than Roberto Benigni's far more sentimental Oscar collector.
6. If telling lies can save a people, he reasons, let the stories - and those fictional tanks - roll.
7. Possesses a rewarding life of its own!
8. Williams appears to be riffing for another 'Comic Relief' benefit.
9. The film leans from the comedic to the near-mawkish.
10. Awkward!
Consensus: Any real story is buried by awkward performances and contrived situations.
Q: 1. Yi Yi is a rare work of beauty, a thoughtful, touching, compelling study of humanity that demands to be seen.
2. There's no question it's a soap opera, but a most charming and involving one.
3. The final moments left me thunderstruck, as deeply moved as I've ever been by a film. Yi Yi accumulates moments of truth and insight until it glows with importance.
4. 'With numerous plotlines that move from middle-aged longing and teen romance to cutthroat business, Yang has created a deeply moving examination of a home in turmoil.'
5. One of the best films of the year, Edward Yang's Yi Yi combines a diagnosis of modern times with seemingly old-fashioned 'literary' storytelling - scene by scene it's slow, character-focused and dense with realistic detail, while the sprawling, coincidenc
6. This one is a masterpiece, despite being as inexplicable as a great work of music sometimes is.
7. Blending the Coen Brothers' karmic rubicon with Robert Altman's ensemble heart, "Yi Yi" scratches the identifiable itch to reach out for what we've loved, set free and had come back, perhaps still not meant to be: jobs, lovers, freedoms, opportunities.
8. One of the best films of the decade, Yi Yi, Edward Yang's most accessible (and very last) film is a fluent, charming and precise family portrait that celebrates ordinary life with all its joys and chaos.
9. A heartfelt and involving family drama to which even the most subtitle-wary moviegoer could relate.
10. Every beat and every image and every cut and every note feels like a part of a whole. It is a total movie.
Based on these individual reviews, what is the critic consensus?

A: Consensus: In its depiction of one family, Yi Yi accurately and expertly captures the themes and details, as well as the beauty, of everyday life.
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.
Q: 1. a plotless, mostly humorless time-killer that exists primarily as a 90-minute commercial for a star-studded soundtrack. ... the movie has all the earmarks of the "let's just make it up as we go along" school of filmmaking.
2. A 100% feeble comedy that exposes the dire acting abilities of two otherwise well respected hip-hop artists.
3. I was wishing I was sitting through Bones a second time.
4. Waterlogged from start to finish
5. You've really got to wonder sometimes how talented people end up in hopeless misfires like this film.
6. [A] crude and boring movie.
7. Snoop, Dre and their buddies take it all in stride -- if they were any more laid-back, they'd be napping in their trailers.
8. Two roommates start to antagonize each other after one becomes the other's superior at an LA car wash, and the conflict is played out with grittiness and flippancy.
9. The lame, underdeveloped jokes far outweigh the fresh ones, the women are all chirpy airheads, and the whole thing hangs on a feeble storyline.
10. Some energetic performances from the cast may make this accessible to a wider audience.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: Sloppily-made, amateurish, and scarce on laughs, The Wash can't compare to Richard Pryor's 1976 Car Wash.