Q: 1. The setup is much more improbable as Willis' cop just happens to be at the scene of another mega-showdown.
2. Standard sequel works well thanks to Willis and the high-flying heroics.
3. Die Hard 2 delivers everything you'd expect from the title's promise. Trouble is, Die Hard 2 really didn't need to wallow in graphic violence to be a good, engaging picture.
4. The screenplay is precariously supported by the chips on John McClane's shoulders. Fortunately, it is also designed to Willis' unique specs.
5. Even when the script wanders into cynical overkill, Harlin makes sure the violence has some impact, some moral consequence, by sketching in characters for a few representative victims.
6. The summer's best sequel and most satisfying blockbuster has finally arrived. Die Hard 2 is a blast.
7. Even in the action genre, there is such a thing as overkill. Die Hard 2: Die Harder pleads guilty to the charge but has enough redeeming plot twists to compensate for the excess.
8. This is the most cheerfully preposterous film of a jaw-dropping summer, which is not to say it's not fun, it's simply orchestrated Looney Tunes.
9. As vapid as it is violent.
10. The filmmakers seem to be operating under the assumption that the way you top a successful movie is by making one that's louder, cruder and more violent.
Based on these individual reviews, what is the critic consensus?

A: Consensus: It lacks the fresh thrills of its predecessor, but Die Hard 2 still works as an over-the-top -- and reasonably taut -- big-budget sequel, with plenty of set pieces to paper over the plot deficiencies.
1. It all comes majestically together in this the third of an enigmatic, other worldly love marathon that milks all its romantic possibilities to the full
2. The broodingest franchise on Earth continues with a pretty fascinating action-adventure that is the best of the three films
3. If you belong to a Jacob vs. Edward blog, or have a Twilight poster hanging over your bed, this is your movie.
4. As craptacular as the previous two installments, though at least there are times when the performers seem self-aware enough to be on the verge of sending up the material
5. David Slade infuses this third entry with the kind of visceral set-pieces, knowing humour and more measured melodrama that the saga has been sorely lacking.
6. The intensity is sustained and passionate. It's the glue that holds the glop together.
7. 'Eclipse' is the best 'Twilight' has to offer. While I never see greatness coming from these films, this one is pretty good.
8. A little levity, self-awareness, and long-overdue back stories make the latest Twilight installment not only watchable but (dare I say it?) actually enjoyable.
9. As always, the biggest screams emanating from the audience come when Lautner bares his chest.
10. The supposedly epic battle the entire film builds toward -- the single action set-piece -- is a ho-hummer. Fire and ice, turns out, was an oversell: Think tepid tap water instead.
Consensus: Stuffed with characters and overly reliant on uninspired dialogue, Eclipse won't win The Twilight Saga many new converts, despite an improved blend of romance and action fantasy.
Q: 1. [It] not only lived up to the artistic and dramatic excellence of the first film, but in many ways surpassed it.
2. It's a second movie made largely out of the bits and pieces of Mr. Puzo's novel that didn't fit into the first. It's a Frankenstein's monster stitched together from leftover parts. It talks. It moves in fits and starts but it has no mind of its own.
3. Each story on its own would work better. Together, it makes it harder to get involved in any of them.
4. The corruption of Michael Corleone reaches its climax in this, the only proper conclusion to the Godfather saga.
5. A rich, fully realized epic.
6. Quite possibly the best sequel ever made...
7. One of the best sequels ever made.
8. The best sequel of all time.
9. The stunning text of The Godfather is replaced in Part II with prologues, epilogues, footnotes, and good intentions.
10. This film is yet another classic of American Cinema.
Based on these individual reviews, what is the critic consensus?

A: Consensus: Drawing on strong performances by Al Pacino and Robert De Niro, Francis Ford Coppola's continuation of Mario Puzo's Mafia saga set new standards for sequels that have yet to be matched or broken.
1. With Dreyfuss and Murray on top form, not even the familiar plotline -- uptight rich person meets free-wheeling poor person and learns about life -- can prevent this lunatic comedy from being funny.
2. Dreyfuss e Murray estabelecem uma boa dinâmica nesta comédia irregular, mas agradável.
3. Murray nicely shelves his wise-guy persona in a winning comedy.
4. A delightful annoying-person comedy made even more amusing by the fact that Murray and Dreyfuss couldn't stand one another in real life.
5. A modern-day comedy in the grand tradition of the best screwball comedies of the late 1930s and early 40s.
6. Bill Murray finds a real showcase for his oft-shackled talent in this manic comedy.
7. Its less is more approach makes for a brilliantly constructed plot in which Murray becomes more and more obnoxious and Dreyfuss is gradually driven to distraction by his eccentric little ways.
8. This cruel but effective black comedy violates credibility at almost every turn, but the concept itself is so strong hat it winds up working pretty well anyway.
9. Appealingly silly romp for kids and adults.
10. Murray, with his curious blend of pathos and aggressiveness, is terrific, and so is an acutely uptight Dreyfuss, never once copping a plea for our sympathy.
Consensus: Bill Murray and Richard Dreyfuss' chemistry helps make the most of a familiar yet durable premise, elevating What About Bob? into the upper ranks of '90s comedies.
Q: 1. ... a tightly constructed thriller ...
2. The film's taciturn observer, played by Ricardo Darin (the strutting con man of Nine Queens), delivers perhaps the most inward performance of the year.
3. Bielinsky does a remarkable job of both revealing and withholding information, so that, even after 134 minutes, the film never drags.
4. In the end, the film's bigger challenge isn't its length, or its deliberate pace: It's that it's overly freighted with symbolism and meaning.
5. The Aura holds together as a dreamy variation on Reservoir Dogs' heist-gone-wrong fatalism and the know-thyself confrontations of David Mamet's Homicide.
6. ... this intricately plotted mystery ventures into darker psychological territory and never misses a step.
7. The heart-attack death last year of Fabiŕn Bielinsky ... makes the posthumous release of The Aura, his mysterious drama about an Argentinean epileptic taxidermist caught up in a vivid crime, that much more poignant.
8. The movie's mood is haunting, and its central image of a man able to shed his morality as easily as an old raincoat hints at a filmmaker who had deeper concerns than mere thrills.
9. Whereas Nine Queens was a movie of clockwork precision and blindsiding reversals, El Aura is more internalized and digressive but no less striking, in large part thanks to Darin's mesmerizing performance.
10. The Aura works as a thriller, but it's also a character study of a man with nothing to lose. Even at more than two hours, it never relaxes its grip.
Based on these individual reviews, what is the critic consensus?

A:
Consensus: The Aura is a highly original and cerebral thriller that maintains its suspense from start to finish.