1. Every moment of genius and every half-formed lump alike make this one of the completely essential films of the year.
2. A movie-movie, with edgy cred and a vivid dystopian vision that, while ostensibly futuristic, speaks harshly to the class divide already defining us.
3. Violent, often absurd, but full of brilliant surprises.
4. Merits near-hyperbolic praise.
5. Snowpiercer features uneven performances, but gets great mileage from its set design, the sheer audacity of the premise, and the appearance of one of those movie villains who seem able to take lethal punishment without actually dying.
6. You couldn't ask for a better metaphor for hell on Earth than what Bong Joon-ho has wrought with Snowpiercer: constant forward momentum while getting absolutely nowhere, suffering all the while.
7. Suddenly zombies, nukes or a global pandemic don't seem nearly as devastating as a train ride to nowhere.
8. Snowpiercer feels both heightened and grounded, allegorical yet familiar, able to be experienced. The confined space in no way inhibits tension or excitement, or a sense of forward momentum. It's a film not to be missed.
9. Snowpiercer hits the sweet spot of working as entertainment while still having enough brains to keep you intellectually engaged. It's a movie for people who love movies that play by their own rules.
10. It emerges from a place of fearsome ambition, dressed in the skin of a zealous summer blockbuster but equipped with a brain that far exceeds the standards of its classification.
Consensus: Snowpiercer offers an audaciously ambitious action spectacular for filmgoers numb to effects-driven blockbusters.
Q: 1. The most inventive, humane comedy in ages, probably the best-directed action film of the summer, and easily the most intelligent science-fiction story in a year lousy with the things.
2. Simon Pegg is a funny man who can make any movie better with his performance, but not this one.
3. A rollicking entertainment, boasting some terrific (and terrifically unexpected) plot twists, a bunch of laugh-out-loud gags and clever action set-pieces.
4. Let's hope this crew from the UK continues to stand up against the Starbucking of movies.
5. I'd estimate that 75% of The World's End is enjoyable. The other 25% isn't bad, just repetitive.
6. The early going of the film is terrific ... This material is so strong that it's almost a shame when the science fiction angle takes over.
7. Pegg's character is obnoxious yet strangely charming, sort of like the movie, which ultimately provides more smiles than big laughs.
8. But even with its flaws, The World's End serves up a wild plot, a boisterously engaging ensemble, and a sincere exploration of what friendship is.
9. Wright/Frost/Pegg present a screwball Sci-fi comedy
10. The most grown-up film of the trilogy. ... Instead of giving us characters who find happiness by rediscovering their youth, they show us the folly of resisting adulthood.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Madcap and heartfelt, Edgar Wright's apocalypse comedy The World's End benefits from the typically hilarious Simon Pegg and Nick Frost, with a plethora of supporting players.
1. Textbook postmodernism at its worst, a relentless pastiche of pop-cultural sounds and representations sutured into the service of a cliché.
2. Simple y sencillamente la mejor película del ańo
3. It takes testicular fortitude to do a movie musical these days, but if there was any man for the job, it was Luhrmann.
4. Surely the most daring summer movie of the year -- it will no doubt be the most daring movie of any season this year.
5. This one seems to be dividing people into those who adore it and those who are indifferent. Count me among the former.
6. "Moulin Rouge" is a "very strange, enchanting" film...
7. The characters are the key here, with the performances ringing through.
8. Like its seductive protagonists, it wants to show us everything it can... but never reveals what we really want to see.
9. The new versions of these classic songs refresh the words and accentuate the harmony of their meaning.
10. In the end the soundtrack medleys all too concretely recall those old 'bouncing-ball' sing-along movies.
Consensus: A love-it-or-hate-it experience, Moulin Rouge is all style, all giddy, over-the-top spectacle. But it's also daring in its vision and wildly original.
Q: 1. Undoubtedly, Hannah Montana: The Movie will appeal to Cyrus' core audience, but the chances of this sanitized, prepackaged effort expanding her fan base is about nil.
2. There's nothing subtle or unexpected about Hannah Montana: The Movie. But its intended audience of prepubescent girls probably won't mind. Still, it's hard not to wish the same wholesome message could be conveyed with a bit more finesse and originality.
3. In the end, Hannah Montana: The Movie is big, beautiful, a little boring and utterly safe.
4. Parents will find their suspension of disbelief stretched thinner than a beanpole at the movie's climax, though the kiddie target audience will likely walk away enchanted by the overall message of hometown goodwill.
5. Hannah Montana: The Movie is an excuse for some generically catchy songs and a showcase for Miley Cyrus' charmingly chipmunk-cheeked smile; and on that level, it works well enough.
6. Combo hick flick musical, big screen image cleanup community service stint and worst of both worlds hide and seek story, while chasing down that playing hard to get ho hum Marlboro boy next door.
7. Cyrus has maintained an honorably wholesome image, and this feature-length spinoff of the sitcom does nothing to hurt it. But it also does nothing to help Cyrus or the audience evolve.
8. The movie looks and sounds like a real film, not an extended version of the TV show. The acting and the cinematography is bumped up a notch.
9. A mix of musical numbers, down-home country cliches and silly slapstick, it was clearly crafted with her biggest aficionados in mind.
10. This probably won't sway the unconverted into becoming fans, but it should please the more than 180 million viewers of the hit Disney Channel series.
Based on these individual reviews, what is the critic consensus?

A: Consensus: While youthful Miley fans won't complain, Hannah Montana the Movie is little more than a formulaic Disney Channel episode stretched thin.
1. (This) funny-but-forgettable movie loses its way somewhere between stowing the carry-on and returning the tray tables to the locked position.
2. It's heartless and soulless, flimsy and formulaic.
3. The entire cast consists of able-bodied comedians, and a great deal of the movie has been improvised, so the laughs keep coming.
4. As chances are dim that we may see another romantic comedy as funny and as close to honest as this all year, we should celebrate Going the Distance while we have the chance.
5. It's not exactly re-inventing the wheel but it's still a pleasant surprise.
6. Acknowledges both the difficulty and the comic potential of the arrangement, and does so with enough insight and charm to make you wonder why frequent-flier love is not a more popular theme in romantic comedies.
7. Particularly forgettable.
8. A wan romantic comedy about the difficulties inherent in long-distance relationships and touches on every cliché in the handbook.
9. Documentary filmmaker Nanette Burstein brings a refreshing frankness to the goings-on (you don't see many rom-coms where people do bong hits on their first date and aren't punished for it), and the leads are awfully winning.
10. Long and Barrymore create very realistic chemistry in a film that pretty much nails what's it like to be in a long distance relationship. Though, Charlie Day steals the movie.

Consensus: It's timelier and a little more honest than most romantic comedies, but Drew Barrymore and Justin Long's screen chemistry doesn't make up for Going the Distance's overall flatness.