Here are some reviews for a movie: 1. Even though Goal! takes its own sweet time getting there, the story of Santiago Munez (played by Spanish-language TV star Kuno Becker) finally arrives at the heartwarming uplift to which all sports movies are required to aspire.
2. Goal! The Dream Begins is an inspirational sports movie, but I liked it anyway.
3. Uma goleada de clichęs e estereótipos em um roteiro espetacularmente ruim.
4. Hard to ignore the cliches and the in-your-face uplift. But the details, gritty and otherwise, feel right.
5. The combination of button-pushing uplift, sundry sweeping helicopter shots and a bombastic score that sounds like it came on a free transfer from a Tony Scott movie proves as resistibly synthetic as the CGI-enhanced heroics on the pitch.
6. ...engaging and fun to watch, thanks mainly to Kuno Becker in the title role (he's such a nice kid, we can't help but root for him).
7. It is constructed of sports movie clichés but built on an unshakable foundation of earnestness.
8. Director Danny Cannon ("I Still Know What You Did Last Summer") captures every bit of Kuno Becker's star quality although the committee-written script remains slack.
9. The script is about as solid as a penalty kick with a deflated ball.
10. Everything here is beyond predictable.

Here is the consensus of critics:Impressive sports action sequences are the highlight, as the run-of the-mill story invokes every known sports movie cliche.

Here are some reviews for a movie: 1. A brash, smart, wildly entertaining movie that will be oft imitated but never duplicated.
2. A devilishly lurid blast of great entertainment. Ultra-violent and wickedly funny.
3. It can be a difficult, rattling experience, but this reviewer has found its rewards to vastly outweigh its weaknesses.
4. Ce film représente le summum de la carričre de Tarantino
5. Tarantino shows penchant for the rhythm of words--the banter has the drollery of gangland Samuel Beckett--and he's also good at taking seemingly routine situations and giving them a sudden vertiginous twist, such as the farcical drug overdoze scene.
6. The overall project is evident: to evict real life and real people from the art film and replace them with generic teases and assorted hommages. Don't expect any of the life experiences of the old movie sources to leak through.
7. A balls-out postmodern comedy par excellence. It's a Royale with Cheese. [Blu-ray]
8. When the dust settles, just as the Coens will ultimately be seen as the canniest literary critics of their generation, Tarantino will be seen as the most perceptive, most instinctive film critic of his.
9. Some of its strengths still impress. There's the trivial-turned-menacing, the gangster-gone-poppy, and the various sadnesses, poignancies, and tragic pointlessnesses that seep out of the best noirs.
10. Its dedicated fan-base and the pop-culture reverberations that have flowed steadily from it, almost 20 years on, echo Tarantino's achievements with Pulp Fiction. Unassailable filmmaking.

Here is the consensus of critics:One of the most influential films of the 1990s, Pulp Fiction is a delirious post-modern mix of neo-noir thrills, pitch-black humor, and pop-culture touchstones.

Here are some reviews for a movie: 1. Passable but otherwise forgettable.
2. It all adds up to a cheekier Lion King on a lower budget. But what you miss in spectacle you will make up in laughs.
3. If I have to choose between gorgeous animation and a lame story (like, say, Treasure Planet) or so-so animation and an exciting, clever story with a batch of appealing characters, I'll take the latter every time.
4. The soundtrack features some terrific music from Paul Simon, Peter Gabriel, Youssou N'Dour and others, and the widescreen animation is a vividly colorful translation of the Thornberrys' distinctive TV style.
5. The soundtrack, thick with catchy tunes by artists ranging from P.Diddy to Paul Simon, is a fine counterpoint to the story and visuals.
6. The soundtrack alone is worth the price of admission.
7. Outstanding entertainment for little ones but just as rewarding for their adult companions.
8. The animated redhead is the gutsiest young female heroine to hit the big screen since the live-action ladies in Crouching Tiger, Hidden Dragon.
9. This is a children's film in the truest sense. It's packed with adventure and a worthwhile environmental message, so it's great for the kids. Parents, on the other hand, will be ahead of the plot at all times, and there isn't enough clever innuendo to fil
10. Doesn't do more than expand a TV show to movie length. However, it's pleasant enough and its ecological, pro-wildlife sentiments are certainly welcome.

Here is the consensus of critics:A pleasant enough kids flick that adults may even enjoy.

Here are some reviews for a movie: 1. Nine? More Like a Six
2. Tackling more challenging material than Chicago, one that has cultural cache due to Fellini's seminal 81/2, Marshall relies too much on montage and melodrama, but the musical features a femme-driven cast that's truly dazzling.
3. A shocking disappointment. A mess without one show-stopper song.
4. Marshall's staging lacks the thrilling unity he brought to Chicago. The numbers, while lively, remain cluttered and stage-bound.
5. Nine is filled with treats for the eye and ear, because in the end Marshall is no slouch in the talent department.
6. All the movie's elements, with the exception of the irritatingly hyperactive editing during the musical numbers, are top-notch. So why isn't "Nine" more satisfying in the end?
7. If a Broadway musical loosely based on Federico Fellini's 1963 deconstructionist masterpiece "8 1/2" sounds like a recipe for disaster, it is.
8. You long for the ghost of Lorenz Hart to be unleashed on the whole affair, with a hard blue pencil and a head full of rhymes.
9. Calculated to be show-stoppers, the songs often end up as quaint throwbacks.
10. Nine thrashes about in search of "cinema" the way a child thrown into the deep end of a pool flails for a flotation device.

Here is the consensus of critics:
It has a game, great-looking cast, led by the always worthwhile Daniel Day-Lewis, but Rob Marshall's Nine is chaotic and curiously distant.