1. It paints with a broad brush... but the journey is nonetheless entertaining, and at times wildly funny.
2. Rock is sharpest in observational mode, riffing on Andre's career, but the movie falters when the routine plot devices kick in.
3. Top Five is easily the "Avengers" of comedians where the laugh meter never drops from its highest point.
4. It's much less savvy than his stand-up observations.
5. What follows is part meet-cute, part examination of fame, and all Rock.
6. When it's just Andre and Chelsea, wandering the streets of New York and getting to know each other, Top Five is as good as Rock has ever been on-screen.
7. Chris Rock's Top Five is very funny -- no surprise there -- but it's also unexpectedly romantic.
8. [Rock's] conversations with Dawson crackle with intelligence and sexual chemistry, and a parade of guest artists -- some playing characters, others as themselves -- is folded into the mix with a minimum of awkwardness.
9. As a director, Chris Rock makes a fine stand-up comic.
10. If you want to see one of the richest, most complex female characters in American film this year, go to the picture that's being marketed as a dirty-talking ethnic comedy.
What is the critic consensus?
A: As smart, funny, and trenchant as writer-director-star Chris Rock's best standup work, Top Five is a career highlight for its creator -- and one of the comedy standouts of 2014.

1. Its atmosphere is spot on, making it a nostalgic treat for many viewers today.
2. This is like every other Hughes film, just a little shoddier.
3. While the script contains trite and unbelievable dialogue, the superbly convincing performances make up for these faults.
4. ...even the notoriously reshot conclusion comes off as genuinely sweet and touching...
5. Molly Ringwald is appealing, but the film has little else going for it.
6. A grubby and even nasty movie in its understanding of class structure, of culture and counter-culture and the ways that teenagers can destroy one another over the subtle distinctions therein.
7. Sweet but predictible angst-ridden Brat Pack outing.
8. Pretty in Pink is a rather intelligent (if not terribly original) look at adolescent insecurities.
9. Pretty in Pink is clichéd, stereotyped, remarkably sentimental, and sweet as all get-out.
10. John Hughes was born in 1950 but connected deeply with the next generation's cultural brooding.
What is the critic consensus?
A: Molly Ringwald gives an outstanding performance in this sweet, intelligent teen comedy that takes an ancient premise and injects it with insight and wit.

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.
What is the critic consensus?
A: Tailored for a very specific audience, The Grace Card delivers its noble religious message via implausible plot twists and preachy dialogue.

1. The most enjoyable part of Faith is the comic business.
2. All that slapsticking you see Norton doing in the previews is in no way indicative of the controlled, soulful movie it really is. You'll see.
3. We could be looking at a word-of-mouth sleeper here.
4. A smart and good-natured picture, conscientious without pretension, a good mixture of romance, buddy movie, and verbal and thematic humour. Trust me.
5. Keeping the Faith refreshes the old-fashioned screwball comedy.
6. The problems with Norton's rookie filmmaking are visible and not insignificant. But in contrast to the affable energy of Stiller, Norton, and Elfman, the problems are easily forgotten.
7. Should find a goodly number of believers within the date-movie congregation.
8. The laughs are nearly nonstop in this extremely well-acted story.
9. The agony of love has rarely looked so funny.
10. A self-assured romantic puffball that neither grates nor lingers too long in the memory.
What is the critic consensus?
A:
A dramedy featuring an unusual love triangle, Keeping the Faith is a perceptive look at how religion affects us in everyday life.