1. The result is poetic and maybe even wise. Bruegel, I think, would be proud.
2. It peers into the twin galleries of art and life, and in particular follows the brief intersection of lives between a security guard (Bobby Sommer) and Anne, one of the museum's regular visitors (Mary Margaret O'Hara).
3. Cinematographer Peter Roehsler has an amazing eye for shot composition and his photography of the copious art on display in the museum borders on brilliant.
4. A wonderfully slow movie that presents a parade of wonders about the beauties and delights of art, city life, and friendship.
5. One of the world's great art museums, the Kunsthistoriches is the true star of the movie "Museum Hours."
6. Relationships between humans and art are perceptively explored in this unassuming yet quietly charming character study.
7. A lot of it works, some of it doesn't.
8. "Museum Hours" is less about individuals than it is about collective experiences -- how we all take part in life's broad canvas.
9. It's a hybrid drama/art-history essay about how looking at art recasts our experience of looking at the world.
10. ...a unique film that celebrates art, the city of Vienna and the profound friendship born of a kindness from a local to a visitor without many resources whose very trip is itself an act of great compassion.
What is the critic consensus?
A: Its languid pace may frustrate some viewers, but for patient filmgoers, Museum Hours offers a carefully observed portrait of the human condition.

1. Seeing WWJB? in a theater is not necessary, although seeing him and the choir hijacking a mall in person would be better than Beowulf in IMAX.
2. Reverend Billy is a charismatic presence, even if his shtick is too silly and the documentary too unfocused to motivate any serious change in the nation's holiday spending habits.
3. These bits of information could have been shocking in about 1940, 1980 and 1990. But by now, Americans who don't know couldn't care less.
4. Talen runs the risk of losing his purpose amid his performance.
5. This funny, yet thought provoking film asks many questions that have plagued consumerism for decades. While much of the ground tracked over is old, it fits perfectly into the modern economic situation.
6. In WWJB, we don't really feel like we get to know anyone that well, not even the primary subjects of the film: Billy and his choir.
7. The shopaholic wages of sin are...the Shopocalypse!
8. So we need a better movie about this subject. As usual.
9. Having illuminated the many dimensions in that vast universe between the flat affect of creative depression and the modish affectation of emo posing, Corbijn manages Control with elegant, understated veneration.
10. The good reverend and his crew do their best to get busted at assorted corporate shrines (Disneyland, the Mall of America), but their media-driven antics serve only to underline Spurlock's add-water-and-stir approach to political documentary.
What is the critic consensus?
A: WWJB is an eye opening doc about consumerism that manages to be both funny and informative.

1. In what is clearly a labor of love, Estevez has assembled an extraordinary cast to present a mosaic of American culture at one of the '60s' key turning points. Estevez may milk the final sequence a little too long, but the result is deeply affecting.
2. A document to the idealistic spirit of RFK's times. Estevez, in a trifecta as director-screenwriter-star, brilliantly succeeds in all aspects.
3. What I resent most about Bobby is that it's so obvious that it has no ability to be meaningful. It's like making a movie about how the ocean is wet. Who doesn't know that?
4. As we experience Kennedy's compassion and eloquence in newsreel footage and hear the campaign speech he delivered that night, we comprehend the film's overwhelming sense of loss.
5. Not because of its overly ambitious screenplay, but because of its heart, its performers and its shots of real-life subject matter, "Bobby" is better than average.
6. While it includes excerpts of some RFK speeches, Bobby provides no insight into the man and his politics, choosing instead to flit among the insipid soap opera storylines.
7. Emilio Estevez's inventive and passionate "Bobby" is so timely today %u2014 in a world lacking justice and peace and in much need of a strong and convincing leader.
8. For all his good intentions, Mr. Estevez has reduced history to a bad melodrama in which nothing much happens until a crazed assassin (of whom we catch only a fleeting prior glimpse) supposedly destroys the last great hope of a liberal renaissance.
9. Estevez's plan to honor RFK feels more like exploitation of the footage to give his movie energy and an emotional context it doesn't otherwise have.
10. One of the key problems with the new Robert Kennedy biopic, "Bobby," is that it never is as compelling, necessary or as thought-provoking as RFK's ideas, nor is it as interesting or as tumultuous as the time it depicts.
What is the critic consensus?
A: Despite best intentions from director Emilio Estevez and his ensemble cast, they succumb to a script filled with pointless subplots and awkward moments working too hard to parallel contemporary times.

1. Hardly a director alive possesses Godard's eye for dynamic, inner-lit old-masterly compositions.
2. Patience and curiosity help to reveal its heartfelt, hypnotic and richly poetic musings as serving as both a cry for help and an act of hope.
3. Godard forces us to see the recognizable anew, opening our minds (our music) with juxtapositions of history.
4. Our Music presents Jean-Luc Godard's audacious meditation on war, violence, terrorism, victims and the truth that lies in the play of opposites.
5. Lovers of cinema will like it for its insights into the melding of text and images, and it will find a broader audience for its contribution to the debate on modern war.
6. Adventurous audiences would love this new film and be proud of themselves for seeing it.
7. There's plenty here to unpack, most of it regarding modern malaise, and the rewards are proportionate to the amount of work you want to put in.
8. My review summed up in three parts: war is bad, nature is good, and Godard is senile. If this is our music, somebody needs to get a better soundtrack.
9. Too abstract and lacking in a moral compass to be going anywhere that was real.
10. Marries a banal message with a directorial technique that's now more sclerotic than innovative.
What is the critic consensus?
A:
A dense, but thoughtful meditation about war by Jean-Luc Godard.