1. A Man Apart is all about star power, but, as a star, Vin Diesel has no power.
2. Although more fun than the preachy Training Day, A Man Apart never quite reaches the seedy depths of Narc.
3. When Vin Diesel appears in something this unpleasant, this moronic, it makes the film seem even worse than it is.
4. There is a lot of graphic violence in A Man Apart, but there is little with the super-charged tension Gray strives for.
5. [An] annoying, laughable, badly thought-out film.
6. About two-thirds fun and one-third ghastly, the film will keep Diesel's fans satisfied without forming many new ones.
7. The film works best when it's sticking to the guns and poses conventions of macho crime pictures. When it reaches for emotional resonance, the results range from unconvincing to ludicrous.
8. It's all fast and furious up to its draggy finale, and yes, it could spark a sequel. Prepare yourself for coming dread in 18 months: A Man Together.
9. Diesel proves himself in a stronger role and grittier story.
10. Whatever appeal Diesel normally has is watered down in this flavorless cop film that refuses to stop until it has checked off every cliché on the list.
Consensus: Action and drama elements don't mix well in this clichйd actioner.
Q: 1. It will leave you breathless.
2. I have watched hundreds of hours of war crimes, genocides and miscarriages of justice carried out by unremarkable men with dimly lit souls. "The Act of Killing" bids to outdo them all.
3. A cynically exploitative film made in the name of human rights, which it has about as much to do with as the Punked show on MTV.
4. It's a gut-wrenching and emotionally exhausting look at impunity that resonates far beyond its obscure central conflict.
5. The magnitude of this achievement, this depiction of a diseased and corrupt society that is in so many ways similar to our own, cannot be understated.
6. Presenting a terrifying view of a hidden holocaust and a moral apocalypse in which the most basic humanities have become twisted beyond recognition, The Act of Killing is a towering achievement in filmmaking, documentary or otherwise.
7. Whatever you call it, The Act of Killing is a must-see.
8. If director Joshua Oppenheimer occasionally loses his way in his own narrative, where this picture demands attention is in its chilling portrait of indoctrination and evil.
9. [It] may be one of the most horrifying films you'll ever see, and one of the most edifying.
10. It's a mind-bending film, devastating and disorienting, that disturbs us in ways we're not used to being disturbed ...
Based on these individual reviews, what is the critic consensus?

A: Consensus: Raw, terrifying, and painfully difficult to watch, The Act of Killing offers a haunting testament to the edifying, confrontational power of documentary cinema.
1. It's not a great movie (though it's better than the third entry), and I doubt I'll ever feel compelled to see it again, but I enjoyed it well enough while it was on-screen.
2. What we get is an efficient but thinly plotted comic book violence packed story.
3. Did the plot points stick in my head five minutes after leaving the theater? Not so much ... but I know I was having fun while watching.
4. Lots of action and Jackman is in great shape but the movie is just more of the same
5. The latest edition of the X-Men franchise is easily the least, with a convoluted storyline, poorly defined characters and a dark one-note tone that lacks the humor and light touches of the earlier three installments.
6. 'Wolverine' isn't as powerful as you might think.
7. Could the Wolverine story be getting a little tired at this point, even though Hugh Jackman still looks good with mutton chops? Possibly ...
8. Everything that happens seems to play out as if following a checklist. It's Paint by Numbers: The Movie.
9. Wolverine's backstory was good stuff -- but after the falling out with Schreiber, the story loses its center and it gets wobbly.
10. I was definitely disappointed.
Consensus: Though Hugh Jackman gives his all, he can't help X-Men Origins: Wolverine overcome a cliche-ridden script and familiar narrative.
Q: 1. This adroit and understated coming-of-age film reminded me of the New Wave of Czech films in the 1960s, but with a distinctive poignancy that translates to wisdom.
2. This haunting coming-of-age film is set in a country that itself is coming of age.
3. Despite the seeming inevitability of tragedy and despair, "In Bloom" remains true to its title.
4. Among the best features to come recently out of Eastern Europe, featuring the tough-minded cinematography of Romania's Oleg Matu, who shot 4 Months, 3 Weeks, and 2 Days.
5. The film accurately reflects the girls' numbness, but it is devoid of sustaining emotional impact. Eka and Natia's full pain is oddly remote.
6. The world painted by directors Nana Ekvtimishvili and Simon GroB is almost relentlessly grim, and even the giggles of two schoolgirls get drowned.
7. While "In Bloom" offers an authentic slice of life from a particular time and place, it never gets close enough to its characters, physically or emotionally, to really hit home.
8. Like a bomb triggered to go off, In Bloom builds in the viewer's gut, a drama coiled to attack.
9. The excellent new drama In Bloom, Georgia's Oscar entry in the foreign-language category, has the heartbreak and hope of a country slipped inside a coming-of age-story of two 14-year-old girls.
10. A fascinating snapshot of a country at war with itself (literally, eventually) as seen through the eyes of two teenage girls, whose lives are complicated enough as it is.
Based on these individual reviews, what is the critic consensus?

A: Consensus: A coming-of-age drama entwined with a political statement, In Bloom underscores its well-worn themes with strong performances and palpable real-world tension.
1. A low-budget Christian indie that just clears the runway on the sincerity of its performances and inclusiveness of its message.
2. A series of hard-to-swallow coincidences wrap up the story too neatly.
3. Steeped in Christian tenets of forgiveness, brotherhood, and prayer, and rife with earnest platitudes about race and family, The Grace Card is one overwrought piece of work.
4. Its screenplay is mostly second-rate soap opera and its direction plodding, with many scenes held, awkwardly, longer than they need to be.
5. This Christian-themed domestic melodrama uses race as cheap window dressing for easily digestible bromides and a conclusion as foregone as a Family Circus panel.
6. If it ultimately succumbs to formula, scoring a series of increasingly unlikely plot twists with anthemic contemporary Christian power pop, at least it has the courage of its convictions, and the bravado to suggest solutions to meaningful dilemmas.
7. The latest in the market-a-movie-to-churches trend, "The Grace Card" has the ring of a sermon about it.
8. The filmmakers seem more interested in coddling the converted than ministering to sinners.
9. "The Grace Card" is a Christian drama about a racist cop and his gospel-preaching partner who . . . hey, wait a second. Where are you going?
10. The movie amounts to a cinematic sermon that, like many of those given in houses of worship, has a good-hearted message that will be difficult to deliver to a snoozing audience.

Consensus: Tailored for a very specific audience, The Grace Card delivers its noble religious message via implausible plot twists and preachy dialogue.