Q: 1. Together, Miller, Kuras and the actresses make Personal Velocity into an intricate, intimate and intelligent journey.
2. Personal Velocity seems tailor-made for art-house audiences. It still cradles that short-story essence...but takes it to a place that stretches just beyond the page.
3. ...works like a short story, or even poetry, in that it shifts our emotional center of gravity through a finely calibrated vernacular of gesture and language.
4. Comes across like an audio book to which photos have been rather unnecessarily added.
5. Confuses its message with an ultimate desire to please, and contorting itself into an idea of expectation is the last thing any of these three actresses, nor their characters, deserve.
6. The acting is uniformly good by the three women stars, Kyra Sedgwick, Parker Posey, and Fairuza Balk.
7. The whole comes across more like a Lifetime special than an insightful examination of the women's lives.
8. The whole film has this sneaky feel to it %u2013 as if the director is trying to dupe the viewer into taking it all as Very Important simply because the movie is ugly to look at and not a Hollywood product.
9. A stuffy bore, filled with amateurish psychological 'insights' that make it seem like a more-ambitious -- and infinitely more pretentious -- Lifetime channel cable movie.
10. None of the three stories has much narrative breadth ... but there is depth.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Uneven, but a keenly observed and well-acted film about three women's lives.
1. Director Paul W.S. Anderson is one of Hollywood's most consistent directors - he can always be counted on to make a terrible movie.
2. The movie makes no demands on its audience, except to cheer in all the right places.
3. Paul W.S. Anderson may have a lot of flaws as a filmmaker, but the man knows cheap thrills, and he delivers them here.
4. No fancy talk here, just solid, monosyllabic obscenities; no flights of digital fancy, just souped-up monster cars flipping end over end in a napalm blaze and crashing in a crunch of flaming metal ouch.
5. Exactly what you might expect, a mindless action flick that allows you to cheer as people get slaughtered while racing around in armored cars ... anyone expecting anything [else] is obviously in the wrong movie.
6. DEATH RACE is going to please non-demanding moviegoers that love their flicks violent and action-packed. But this is like eating a generic brand of cereal, tastes okay until you have the real thing again.
7. It is an assault on all the senses, including common. Walking out, I had the impression I had just seen the video game and was still waiting for the movie.
8. If you're considering seeing Death Race this weekend, send me ten bucks and I'll personally come to your house and punch you in the face instead. It will be more dramatically rewarding.
9. Yes, it's a big ball of stupid, and yes, it's pretty damn fun.
10. Cars, babes and guns. Stop, that's enough to entertain. It should have been an overly violent, comical Mario Kart. This is not a remake, this is a title take.
Consensus: Mindless, violent, and lightning-paced, Death Race is little more than an empty action romp.
Q: 1. This genre film does what it does so well, and with such impressive directorial finesse, you won't mind stepping into the criminal muck and covering yourself in the blood and filth of some ice-cold thieves.
2. High-octane excitement for the art-house set ... Think 'Two-Lane Blacktop' meets Kubrick's 'The Killing' meets Bresson ... Gosling's King of Cool may be the new McQueen.
3. Like the novels of Raymond Chandler and the paintings of David Hockney, Drive is both an accurate view of southern California's intoxicating sleaze and glamour and the filtering of it through a European sensibility.
4. full review at Movies for the Masses
5. A more or less conventional Los Angeles-set hot-rod/getaway-driver movie with neo-noir decoration -- albeit satisfying enough on its own terms.
6. One for fans of Taxi Driver and TV's Dexter, Drive is a film whose considerable style at first obscures just how much it'll get under your skin and stay there for weeks to come.
7. From its opening shots, Refn's movie is as cool and controlled as its protagonist... at once unhurriedly stylish and intensely gripping. You'd like to lean back and admire, but the action keeps pulling you to the edge of your seat.
8. The film treats the audience with intelligence; it doesn't lay everything out and instead leaves you to do a little legwork too.
9. Terrific, pulpy stuff.
10. ...the film's irresistibly stylish atmosphere [compensates] for its general lack of context and substance.
Based on these individual reviews, what is the critic consensus?

A: Consensus: With its hyper-stylized blend of violence, music, and striking imagery, Drive represents a fully realized vision of arthouse action.
1. Funny and exciting on enough levels that adults are likely to enjoy it just as much as the rug rats they find themselves forced to chaperone.
2. Spy Kids may have its faults, but, for adults, it's far from a Mission: Unwatchable.
3. Spy Kids is all fun, sometimes obnoxious, and incessantly cheerful.
4. Just wacky enough and gadget-driven enough to appeal to bored kids looking for fresh energies.
5. Energetic and slickly done, but also somewhat soulless.
6. Robert Rodriguez brings the same whiplash-inducing pace and ferocious energy that drove DESPERADO and FROM DUSK TILL DAWN to this gentler, but no less high-octane, escapade
7. Utterly devoid of any real originality or charm, and so loaded down with clumsy effects it's an ordeal to sit through. Every step of the way, it feels like just what it is: a merchandising devise.
8. In the end, all the clever parts of Spy Kids don't quite fit together ... but we hardly notice because of the movie's inventiveness, sense of fun and faith in the heart and brains of its audience.
9. Given the film's likable performances and surprising, funny plot turns, viewers over the age of 12 may even approach the prospect of a sequel without the usual feeling of paralytic dread.
10. This surprisingly entertaining movie turns the adults into kids and the kids into adults -- and everyone laughs at the talking toilet.
Consensus: A kinetic and fun movie that's sure to thrill children of all ages.
Q: 1. The clever screenwriter Paul Rudnick cooks up a solid script that's both wildly funny and gently satirical.
2. Actually, the funniest parts of the movie are excerpts from the film that Cameron is originally nominated for.
3. A plain ol' enjoyable time at the movies.
4. In & Out is the screwball Philadelphia, a movie that contorts itself in order to indulge and then whitewash the core audience's perceived homophobia.
5. Forget the inevitable carping and give credit where credit is due.
6. ...an often painfully broad comedy that's rarely as entertaining (or as funny) as one might've anticipated.
7. Fast-moving and very funny.
8. If only it was gay in the old sense of the word.
9. Paul Rudnick has written scenes that will go down as classics.
10. Basically a one-joke farce that plays around with a once-delicate subject that by now is a mainstay even on TV.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: It doesn't always find comfortable ground between broad comedy and social commentary, but lively performances -- especially from Kevin Kline and Joan Cusack -- enrich In & Out's mixture of laughs and sexual tolerance.